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Foundations  of  Expression 

Studies  and  Problems  for  Developing-  the 
Voice,  Body,  and  Mind  in 

Reading   and   Speaking 


S.  a  Curry,  Ph.D.,  LittD, 

Author  of  "  The  F'rovince  of  Expression,''  "  Lessons  in 
Vocal    Expression,"    "Imagination    and    Dra- 
matic Instinct,"  "  Vocal  and  Literary  In- 
terpretation of  the  Bible,"  etc. 


3Boston 

The   Expression    Company 

PUrce  Building,  Copley  Square 


Copyright,  ig20 
S.  S.  CURRY 


Library 


A  WORD  ON  THE  POINT  OF  VffiW 

The  Muse  of  Eloquence  and  the  Muse  of  Liberty,  it  has 
been  said,  are  twin  sisters.  A  free  people  must  be  a  race 
of  speakers.  The  perversion  or  neglect  of  oratory  has 
always  been  accompanied  by  the  degradation  of  freedom. 

The  importance  of  speaking  to  a  true  national  life,  and 
to  the  forwarding  of  all  reforms,  can  hardly  be  overesti- 
mated; but  it  is  no  less  necessary  to  the  development 
of  the  individual.  Expression  is  the  manifestation  of 
life,  and  speaking  in  some  form  is  vitally  necessary  for 
the  assimilation  of  truth  and  the  awakening  to  a  con- 
sciousness of  personal  power. 

Since  the  invention  of  printing,  the  written  word  has 
been  overestimated  in  education,  and  living  speech  has 
been  greatly  neglected.  Recent  discoveries  of  the  neces- 
sity of  developing  the  motor  centres  have  revived  interest 
in  the  living  voice. 

With  this  revival  of  interest  the  inadequacy  of  modern 
elocutionary  methods  has  come  to  be  realized.  Such 
methods  have  been  based  usually  upon  imitation  and 
artificial  or  mechanical  analysis,  and  consist  of  mere 
rules  founded  upon  phraseology,  the  modulations  of  the 
voice  being  governed  by  rules  of  grammar  or  rhetoric 
instead  of  by  the  laws  of  thought.  Neither  the  nature 
nor  functions  of  the  voice  modulations  have  been  recog- 
nized. An  able  college  graduate,  and  head  of  an  edu- 
cational institution,  once  acknowledged  to  me  that  he 
had  never  thought  of  a  voice  modulation  as  having  a 
distinct  meaning  of  its  own  with  power  to  change  even 
the  meaning  of  a  phrase. 

This  book  outlines  the  results  of  some  earnest  endeavors 
to  study  anew  the  problem  of  developing  the  voice  and 
body  and  improving  reading  and  speaking.  The  attempt 
has  been  made  to  find  psychological  causes,  not  only  of 


4  A  WORD    ON  THE   POINT   OF   VIEW 

the  expressive  modulations  of  the  voice,  but  of  the  condi- 
tions of  mind  and  body  required  for  its  right  training  and 
correct  use. 

The  usual  view  is  that  every  defect  in  the  use  of  the 
voice  is  associated  with  some  local  constriction,  and  that 
for  every  abnormal  habit  or  action  some  exercise  to 
restore  the  specific  part  can  always  be  found.  While 
this  is  true,  it  is  but  a  half  truth.  Every  abnormal  action 
or  condition  has  its  cause  in  the  mind.  Hence  technical 
training  must  always  be  united  with  work  for  the  removal 
of  the  causes  of  faults,  and  for  the  awakening  of  the 
primary  actions  and  conditions.  This  enables  the  student 
to  become  himself  conscious  of  right  modes  of  expression, 
develops  him  without  imitation  or  mechanical  rules, 
and  produces  no  artificial  results.  Even  when  the  right 
technical  exercise  is  prescribed  for  a  fault  in  reading  or 
speaking  it  is  often  ineffective  on  account  of  wrong  or 
mechanical  practice  on  the  part  of  the  student,  or  a  lack 
of  attention  on  the  part  of  teacher  or  student  to  the  real 
psychological  causes  of  the  abnormal  conditions. 

In  seeking  for  such  exercises  as  are  safe  for  classes, 
for  private  study,  or  where  specific  technical  exercises 
cannot  be  given  individually  by  a  teacher,  and  such  as 
require  primary  mental  action  or  at  least  apply  practi- 
cally and  naturally  the  results  of  technical  training,  what 
are  here  called  problems  have  been  found  most  helpful. 
Technical  exercises,  to  accomplish  any  good  result,  must 
be  carefully  prescribed  by  the  teacher  and  practised  under 
his  direction  so  that  the  exact  part  may  be  made  to  act 
in  just  the  right  way.  In  large  classes  and  with  young 
students  this  is  well-nigh  impossible. 

These  exercises  stimulate  the  primary  mental  actions, 
cause  the  normal  response  of  voice,  and  furnish  an  intro- 
duction or  practical  addition  to  technical  exercises;  they 
prevent  artificial  results,  stimulate  normal  growth,  are 
more  interesting,  cause  more  complete  self  study,  and  are 
safer  for  practice  alone.  To  accomplish  these  ends, 
what  are  called  in  this  book  problems  have  been  found 
most  helpful.  One  who  will  systematically  practise  these 
inductive  studies  will  be  led  step  by  step  to  the  right  use  of 


A   WORD   ON   THE   POINT   OF   VIEW  5 

his  voice,  and  to  a  conscious  command  of  its  expressive 
modulations. 

Such  practice  has  its  difficulties.  It  requires  care, 
perseverance,  self  study,  a  harmonious  use  of  thinking 
and  feeling,  insight  into  what  is  fundamental  rather  than 
accidental,  exercise  of  the  imagination  to  hold  a  situation, 
and  of  the  sympathetic  instinct  to  yield  breathing,  voice, 
and  body  to  its  dominion. 

Students  and  teachers,  especially  those  who  have  been 
accustomed  to  mechanical  or  imitative  methods,  will  at 
first  consider  such  a  method  impractical.  But  patient, 
persevering  practice  for  a  few  lessons  will  be  followed  by 
such  an  awakening  of  interest,  such  a  realization  of  the 
true  nature  of  expression,  and  such  satisfactory  results, 
that  there  is  little  danger  of  a  return  to  artificial  methods. 
Such  training  with  careful  study  of  himself  on  the  part 
of  the  student,  especially  if  directed  by  a  true  teacher 
possessing  insight,  will  accomplish  surprising  results. 

The  student  should  regard  no  problem  as  trivial,  but 
should  practise  it  faithfully  and  the  lesson  will  solve  for 
him  diflBlculties  not  seen  at  the  time. 

Teachers  will  of  course,  according  to  the  earnestness  of 
students  and  opportunities  for  practice,  add  technical 
exercises  at  certain  points  complementary  to  these  prob- 
lems. For  information  regarding  additional  exercises  or 
explanation,  the  author's  other  works  should  be  con- 
sulted. For  example :  "  The  Province  of  Expression," 
"  Lessons  in  Vocal  Expression,"  "  Imagination  and  Dra- 
matic Instinct,"  "  Vocal  and  Literary  Interpretation  of 
the  Bible,"  and  especially  the  books  on  the  training  of 
voice  and  body  soon  to  be  published. 

The  student  is  urged  not  to  accept  passively  the  super- 
ficial views  of  delivery  so  prevalent  at  the  present  time, 
but  to  study  himself  anew,  to  take  the  problems  in  their 
order  and  work  upon  them  with  a  receptive  and  teach- 
able spirit  until  he  masters  this  most  difficult  but  most 
important  phase  of  education. 

o«  ^*  C/« 

School  of  Expression, 

Copley  Square,  Bosto%. 


CONTENTS 


Page 

A  WORD   ON   THE   POINT   OF   VIEW 3 

I.   UNPRINTED    ELEMENTS   OF    EXPRESSION 9 

1.  Modes  of  Expression 9 

2.  The  Nature  of  Expression 10 

3.  The  Mental  Cause  of  Expression 11 

4.  Organic  Means  of  Expression      13 

5.  Fundamentals  and  Accidentals 14 

n.    CONCENTRATION    AND    ITS   EXPRESSION       i9 

1.  Elements  of  Thinking i9 

2.  Pause 24 

3.  Phrasing 27 

4.  Touch 3X 

in.   DISCRIMINATION   AND   INTERVALS 43 

IV.   ATTITUDE   OF   MIND   AND   INFLEXION 49 

1.  Direction  of  Inflexion, 50 

2.  Length  of  Inflexion 52 

3.  Abruptness  of  Inflexion 55 

4.  Complex  Modulations  of  Inflexion 56 

5.  Freedom  of  Inflexion              57 

V.   RESPONSE   OF   THE   ORGANISM      6i 

VI.   CONDITIONS    AND    QUALITIES   OF   VOICE 69 

1.  Fundamental  Principle 70 

2.  Correct  Method  of  Breathing 76 

3.  Freedom  of  Tone 83 

Vn.  VOICE   AND   BODY 89 

1.  Expansion  of  the  Body 7 9o 

2.  Elevation  and  Centrality  of  the  Body 9i 

Vm.   LOGICAL   RELATIONS   OF   IDEAS 97 

1.  Relative  Value  of  Ideas 97 

2.  Centrality  of  Ideas 103 

3.  Antithesis 106 

IX.  MODES   OF   EMPHASIS iii 

1.  Inflexion  and  Form iii 

2.  Change  of  Key  and  Range      113 

3.  Rhythmic  Emphasis 115 

4.  Emphatic  Pause 118 

7 


8  CONTENTS 

Page 

X.   AGILITY   OF  VOICE 123 

1.  The  Training  of  the  Eax      .    .    .    , 124 

2.  Intervallic  Agility  . 126 

3.  Inflexional  Agility 127 

4.  Range  of  Voice 130 

XL   SPONTANEOUS    ACTIONS    OF  THE   MIND   AND    MODU- 
LATIONS  OF   THE  VOICE      135 

1.  Vision 138 

2.  Imagination 143 

3.  Emotion 149 

4.  Development  of  Spontaneous  Action 152 

XIL   TONE-COLOR i59 

Xin.   SECONDARY   VIBRATIONS   OF   TONE i69 

XIV.   PANTOMIMIC   CONDITIONS   OF   TONE 183 

XV.  MOULDING  TONE   TNTO   WORDS 193 

XVI.   FORCE   AND   ITS  EXPRESSION 201 

1.  Volume 203 

2.  Intensity 206 

XVII.   SUPPORT   AND   STRENGTH   OF   VOICE 217 

XVm.   FLEXIBILITY   OF   VOICE 225 

1.  Accentuation 225 

2.  Centrality  and  Subordinate  Touch       226 

3.  Metre 227 

XIX.   ASSIMILATION   AND   SYMPATHY 239 

1.  Identification 240 

2.  Personation  and  Participation 243 

3.  Dramatic  Instinct 245 

4.  Purposes 0..........0....  257 

XX.   MOVEMENT 361 

XXI.   ACTION 273 

XXII.   UNITY   OF   DELIVERY 393 

1.  Transition 294 

2.  Harmony .-   .    .    .  29ti 


FOUNDATIONS  OF  EXPRESSION 


UNPRINTED  ELEMENTS  OF  EXPRESSION. 

Read   the   following  lines  in  two  ways,  —  first,  as 
an   abstract   statement    of  fact;    and  secondly,     _ 
suggesting  as  much  depth  of  meaning  as  pos- 
sible, and  note  the  chief  differences  in  the  renderings. 

Two  prisoners  looked  out  from  behind  their  bars ; 
One  saw  the  mud, — the  other  saw  the  stars. 

In  the  first  rendering  the  words  follow  each  other 
almost  continuously;  in  the  second,  there  are  many 
pauses,  variations,  and  modulations  of  the  voice  While 
the  words  remain  the  same  the  impressions  caused  by 
the  two  renderings  are  very  different,  and  the  elements 
which  cause  this  difference  cannot  be  clearly  defined. 

These  unprintable  elements  constitute  delivery.  They 
are  distinct  from  words  and  have  a  meaning  of  their 
own,  for  though  all  the  modulations  of  the  voice  are 
directly  associated  with  words  they  express  that  which 
words  cannot  say. 

I.  Modes  of  Expression.  All  natural  conversa- 
tion consists  of  three  elements :  —  words,  modulations 
of  tone,  and  action.  Words  represent  ideas  and  name 
objects  of  attention,  events,  or  qualities.  Modulations  of 
tone  while  simultaneous  with  words  have  a  meaning 
distinct  from  words  and  can  be  changed  without  chang- 
ing pronunciation.  They  reveal  degrees  of  conviction, 
processes  of  thinking,  attitudes  of  mind  and  feeling. 
Actions,  such  as  the  expansion  of  the  body,  changes  of 

9 


lO  FOUNDATIONS   OF   EXPRESSIOW 

countenance,  and  motions  of  the  hand  or  head,  express 
character,  purpose,  degrees  of  excitement,  and  self- 
control.  While  distinct  from  each  other,  these  words, 
tones,  and  actions  co-operate  and  act  simultaneously ;  as 
each  reveals  something  which  cannot  be  expressed  by 
the  others,  they  complement  each  other,  and  when 
sympathetically  and  naturally  co-ordinated,  thought  is 
expressed  with  far  greater  clearness  and  force  than  is 
possible  otherwise. 

It  is  the  problem  of  delivery  to  develop  each  of  these 
elements  of  expression  according  to  its  distinct  nature 
and  function,  and  to  bring  them  all  into  harmonious 
co-operation. 

2.  The  Nature  of  Expression.  As  the  leaf  mani- 
fests the  life  at  the  root  of  the  tree ;  as  the  bobolink*s 
song  is  the  outflow  of  a  full  heart;  so  all  expression 
obeys  the  same  law;  it  comes  from  within  outward, 
from  the  centre  to  the  surface,  from  a  hidden  source  to 
outward  manifestation.  However  deep  may  be  the  life, 
it  reveals  itself  outwardly  by  natural  signs. 

Expression  in  man  is  governed  by  the  same  law. 
Every  action  of  face  or  hand,  every  modulation  of 
voice,  is  simply  an  outward  effect  of  an  inward  con- 
dition. Any  motion  or  tone  that  is  otherwise  is  not 
expression. 

A  machine  is  manipulated  from  without,  but  an 
organism  is  modulated  from  within.  Man  can,  on  the 
one  hand,  produce  by  his  will  certain  actions  of  body 
and  inflexions  of  voice ;  he  can,  for  example,  imitate  the 
action  or  speech  of  another,  or  obey  mere  mechanical 
directions;  but,  on  the  other  hand,  he  can  obey  the 
spontaneous  energies  of  his  being.  The  results  of  the 
first  process  are  artificial  and  mechanical;  the  results 
of  the  second,  a  genuine  awakening  of  man's  powers, 
with  true  force  and  naturalness  of  expression. 

One  of  the  first  steps  in  the  development  of  expression 


Ulf PRINTED   ELEMEWTS  OF  EXPRESSION  H 

must  be  a  recognition  of  the  necessity  of  genuine 
possession.  Impression  must  precede  and  determine 
all  EXPRESSION,  and  it  will  be  noted  that  the  tendency 
toward  expression  is  directly  proportionate  to  this  inner 
fullness,  while  mere  surface  work  causes  superficiality. 
Observe  this  spontaneous  tendency  of  realization 
to  determine  expression,  by  reading  two  short  passages 
widely  contrasted.  If  superficially  apprehended, 
or  the  mere  words  be  given,  they  will  appear 
practically  the  same,  but  in  proportion  to  the  genu- 
ine realization  of  the  thought  and  feeling  will  the 
modulations  of  the  voice  differ. 

Merrily,  merrily,  shall  I  live  now, 

Under  the  blossom  that  hangs  on  the  bough. 

Artel  b  "  The  Tempest."  SHAKESPEARE. 

Though  love  repine  and  reason  chafe,  — 

I  heard  a  voice  without  reply,  — 
Tis  man's  perdition  to  be  safe. 

When  for  the  truth  he  ought  to  die. 

EMERSON* 

3.  The  Mental  Cause  of  Expression.  The  un- 
printed  and  unprintable  modulations  of  voice  and  body 
are  so  natural  and  necessary  to  the  simplest  sentence 
in  conversation,  that,  one  would  naturally  think,  their 
nature  and  function  would  be  recognized  by  everyone; 
but  as  a  matter  of  fact,  the  subject  of  delivery  is  uni- 
versally misimderstood  and  neglected.  The  simplest 
modulations  of  the  voice,  as  well  as  the  primary  actions 
of  the  body,  are  hardly  recognized  or  their  functions 
distinguished.  Expression  is  employed  blindly  and  is 
rarely  considered  a  proper  subject  of  education.  So 
superficial  is  the  conception  of  the  elements  of  delivery 
that  they  are  imiversally  regarded  as  mere  matters  of 
manner,  and  the  methods  adopted  for  their  development 
are  often  founded  upon  imitation  or  mechanical  rules. 

All  true  expression  is  not  only  from  within  outward 


12  FOUNDATIONS   OF   EXPRESSION 

but  from  the  mind.    Modulations  of  voice  and  body  are 
directly  responsive  to  the  deepest  life. 

That  expression  is  a  mental  and  not  a  physical  thing 
is  shown  by  the  fact  that  all  true  expression  is  more  or 
less  spontaneous  and  subconscious.  Its  elements  can- 
not all  be  reduced  to  rule.  At  the  best  rules  can  be 
appUed  only  to  a  very  few  of  the  more  accidental  and 
external  elements.  Expression  is  infinitely  complex, 
and  to  start  with  the  idea  that  delivery  belongs  to  the 
body  and  can  be  regulated  by  rules  or  conscious  direc- 
tions is  sure  to  produce  superficial  results. 

To  reaUze  that  the  nature  of  expression  is  the  direct 
effect  of  mental  action,  read  a  line  or  a  short  passage 
first  listlessly  or  with  indifference  and  then  with     „ 
intense  earnestness,  and  it  will  be  seen  that  the 
expression  is  natural  and  forcible  in  direct  proportion 
to  the  clearness,  force,  and  variation  of  the  thinking. 

Long  sleeps  the  summer  in  the  seed. 

••  In  Memoriam."  TENNYSON, 

A   BOOK. 

He  ate  and  drank  the  precious  words, 

His  spirit  grew  robust; 
He  knew  no  more  that  he  was  poor, 

Nor  that  his  frame  was  dust. 
He  danced  along  the  dingy  days ; 
\        And  this  bequest  of  wings 
\  Was  but  a  book.     What  liberty 
A  loosen'd  spirit  brings  I 

EMILY  DICKINSON. 

If  some  passage  with  an  extreme  transition  be  trulj 
rendered,  at  the  very  point  of  the  change  in  situ- 
ation, thought,  or  feeling  will  come  changes  in  the     "* 
modulations  of  the  voice. 

If  the  changes  of  expression  do  not  occur,  observe 
first,  whether  the  situation  and  ideas  were  truly  felt; 
second,  whether  the  organs  of  the  voice  were  normally 
used ;  and  third,  whether  there  was  a  true  conception  of 


UlfPRIlfTED    ELEMENTS   OF   EXPRESSION 


the  nature  and  function  of  the  modulations  necessary 
to  the  expression. 

"By  the  God  that  made   thee,  Randolph,  tell   us  what   mischance 
has  come  "; 
Then  he  lifts  the  riven  banner,  and  the  asker's  voice  is  dumb. 

"  BatUt  of  Flodden  Field.'-  AYTOUN. 

A  little  thought  will  show  that  language  is  always  a 
means,  and  that  in  the  natural  languages  the  modula- 
tions of  tone  and  action  directly  reveal  the  processes  of 
the  mind.  Expression  is  perfect  in  proportion  to  the 
directness  of  its  revelation  of  mental  energy.  Too  much 
attention  to  the  mere  externals  of  expression,  a  study 
of  modulation  or  action  without  observing  and  securing 
control  of  the  mental  cause,  will  render  all  work  in 
delivery  inadequate  and  mechanical. 

*>  Organic  Means  of  Expression.  Notwithstand- 
ing the  natural  tendencies  of  right  mental  and  emo- 
tional action  to  cause  true  changes  in  expression,  in 
many  cases  even  an  extreme  change  of  thought  or  emo- 
tion does  not  in  reading  and  speaking  cause  a  change 
in  the  voice. 

Why?  Because  the  voice  has  become  constricted 
from  misuse,  habits  of  indifference  in  reading,  a  mechan- 
ical view  of  speaking,  a  neutral,  negative  attitude  of 
mind,  or  a  lack  of  sympathy  has  perverted  the  natural 
responsiveness  of  the  vocal  organs. 

Hence,  not  only  must  the  cause  of  expression  be 
awakened;  the  right  means  must  also  be  secured. 
Vocal  expression  is  the  modulation  of  living  organs. 
These  must  be  flexible  and  used  naturally. 

Work  for  the  attuning  of  the  organism  is  vitally 
necessary  and  must  go  hand  in  hand  with  the  develop- 
ment of  the  right  use  of  the  modulations  of  the  voice 
and  all  work  for  expression. 

The  development  of  normal  conditions  and  possibil- 


14  FOUNDATIONS  OF  EXPRESSION 

ities  of  the  organism  is  called  training.  Nature's  own 
functions,  methods,  and  processes  must  be  studied  to 
find  the  basis  for  development  Training  implies  exer- 
cises, or  the  accentuation  of  natural  and  fundamental 
actions  which  must  be  so  practised  as  to  correct  bad 
habits,  and  develop  the  normal  and  best  conditions  of 
the  organism.  Exercise  may  be  technical,  or  the  direct 
volitional  practice  of  a  fundamental  action ;  and  psychic, 
or  the  specific  practice  of  that  mental  action  which 
tends  to  cause  the  right  expressive  action,  or  to  estab- 
lish conditions  for  such  action. 

Both  of  these  means  of  training  are  necessary,  but  in 
this  work  psychic  exercises,  here  called  problems,  are 
chiefly  used  because  they  are  safer  for  the  use  of  the 
student  alone  or  in  class.  Technical  exercises,  however, 
can  be  introduced  from  the  author's  other  works  by  the 
teacher  when  the  class  is  small  and  the  students  suffi- 
ciently earnest  to  be  willing  to  practise  alone,  carefully 
and  regularly.  Psychic  exercises  also  demand  practice, 
but  practice  upon  these  is  more  interesting  and  less 
liable  to  be  perverted  by  the  student  on  account  of 
the  fact  that  it  primarily  calls  for  mental  effort.  The 
psychic  exercise  is  also  more  synthetic;  the  technical 
exercise  more  analytic.  The  psychic  exercise  calls  for 
earnestness  and  observation;  the  technical  exercise 
demands  great  precision  and  care. 

5.  Fundamentals  and  Accidentals.  The  develop- 
ment of  expression  implies  necessarily  an  inner  awaken- 
ing, a  stimulation  of  faculties  and  powers,  a  securing 
of  a  deeper  impression,  and  more  vital  realization  of 
truth. 

Accordingly,  the  problem  of  improving  expression  is 
not  only  important  for  its  own  sake,  but  modulations 
of  voice  and  actions  of  the  body  are  so  directly  connected 
with  activities  of  being  that  to  become  conscious  of  the 


UNPRINTED   ELEMENTS  OF   EXPRESSION  15 

function  of  any  elemental  modulation  and  to  develop 
its  power  requires  the  awakening  of  the  whole  nature. 
True  work  in  expression  must  necessarily  be  associated 
with  a  discovery  of  one's  self. 

For  the  same  reason  the  problem  of  developing 
delivery  is  difficult.  Some  even  doubt  the  possibility 
of  its  development.  How  can  the  spontaneous  actions 
of  the  mind,  for  example,  be  stimulated?  How  can 
complex  modulations  of  the  voice  and  actions  of  the 
whole  body  be  awakened  and  brought  into  anything 
like  unity,  especially  if  we  are  to  discard  mechanical 
rules  and  imitation? 

The  general  characteristic  of  a  true  method  of  devel- 
oping expression  needs  careful  attention.  Throughout 
all  nature  we  find  an  infinite  variety  of  phenomena. 
Expression  necessarily  implies  infinite  complexity,  but 
in  the  midst  of  seemingly  the  most  confused  mass  of 
elements  we  find  a  principle  upon  which  all  else  rests. 
For  example,  if  we  examine  the  numberless  shades  and 
tints  of  color  we  find  only  three  that  are  primary.  Chem- 
istry has  proven  that  there  are  but  few  elements  which 
form  the  basis  of  material  objects. 

Similarly,  in  all  the  complex  modulations  of  the 
voice  and  actions  of  the  body  we  can  find  a  few  primary 
elements  upon  which  all  the  varied  results  are  founded. 
By  finding  and  developing  these,  and  bringing  them  into 
conscious  recognition,  the  key  to  natural  expression  is 
found.  When  we  recognize  these  fundamentals  develop 
them  normally  and  realize  their  function  the  mind  is 
enthroned.  All  the  subconscious  involuntary,  and  even 
accidental  elements,  will  respond  in  natural  fulness 
from  the  accentuation  of  those  primary  elements  upon 
which  all  the  modulations  rest. 

Work  upon  fundamentals  does  not  produce  self- 
consciousness,  in  fact  such  work  corrects  it.  Self-con- 
sciousness results  from  a  perversion  of  nature,  from 


l6  FOXJITOATIONS   OF   EXPRESSION 

focussing  attention  upon  accidentals,  and  not  upon 
fundamentals ;  from  abnormal  constrictions,  and  some 
kind  of  hindrance. 

The  removal  of  self-consciousness  implies  develop- 
ment of  elemental  conditions.  "  Work  upon  acciden- 
tals secures  mediocre  results;  work  upon  fundamentalf. 
develops  power."  There  are  innumerable  illustrations 
of  this  principle.  To  work  upon  mere  accidents  of 
phrasing,  to  lay  down  rules  where  to  pause,  will  super- 
ficialize  all  expression.  On  the  contrary,  expression 
will  be  made  natural  and  forcible  by  developing  the 
rhythm  of  thinking,  by  securing  the  power  to  conceive 
vivid  ideas  and  impressions,  and  by  awakening  that 
instinctive  action  of  the  mind  in  which  vivid,  clear 
ideas  gather  words  into  groups,  which  is  the  character- 
istic of  naturalness  in  conversation. 

It  will  be  found  in  every  step  of  training,  in  all  true 
work  in  expression,  no  matter  under  what  phase  of  it, 
that  the  principle  holds  good.  First,  find  the  funda- 
mentals; make  these  normal,  and  expression  can  then 
be  naturally  improved.  There  will  be  no  perversions, 
no  artificialities,  no  affectation,  but  all  will  be  normal^ 
dignified,  and  strong. 

To  realize  the  general  nature  of  delivery,  take  some 
short  passage  or  fable  and,  after  careful  study,     „ 
render  it  as  naturally  as  in  conversation,  noting 
the  while  the  fundamental  actions  of  the  mind  in  think- 
ing and  the  primary  modulations  of  the  voice. 

Skies  may  be  dark  with  storm 
While  fierce  the  north  wind  blows, 
Yet  earth  at  heart  is  warm 
And  the  snow  drift  hides  the  rose. 

CELIA  7  BAXTER. 

A  hungry  Fox  one  day  saw  some  fine  grapes  hanging  high  up 
from  the  ground.  He  made  many  attempts  to  reach  them, 
but  all  in  vain.  Tired  out  with  his  failures,  he  walked  off, 
grumbling  to  himself,  "  Sour  things,  I  am  sure  you  are  not  fit 
for  a  gentleman's  eating." 


UNPRINTED   ELEMENTS  OF  EXPRESSION  1 7 

Or  give  some  poem  as  simply  and  adequately  as  pos- 
sible, endeavoring  to  think  it  and  to  express  it  in     ^ 
such  a  way  as  to  make  another  realize  its  force. 
Then  note  that  every  modulation  of  the  voice  is  directly 
associated  with  some  primary  action  of  the  mind. 

THE  BROOKLET. 

The  brooklet  came  from  the  mountain. 

As  sang  the  bard  of  old, 
Rumiing  with  feet  of  silver 

Over  the  sands  of  gold. 

Far  away  in  the  briny  ocean 

There  rolled  a  turbulent  wave, 
Now  singing  along  the  sea-beach, 

Now  howling  along  the  cave. 

And  the  brooklet  has  found  the  billow, 

Though  they  flowed  so  far  apart, 
And  has  filled  with  its  freshness  and  sweetness 

That  turbulent,  bitter  heart. 

L(^NG  FELLOW. 

The  student  should  first  observe  the  general  differ- 
ences. For  example,  in  the  preceding  poem,  "  Brook- 
let "  is  made  the  center  of  the  first  stanza  in  the  think- 
ing, and  the  voice  gives  this  word  a  corresponding 
degree  of  importance.  The  thought  of  the  second 
stanza  is  made  to  gather  around  "  wave,"  and  peculiar 
changes  in  the  voice  show  that  the  mind  receives  a 
different  impression  from  that  in  the  preceding.  In 
the  last  stanza  there  is  a  still  wider  difference  of  feeling. 

Tell  a  short  story  in  your  own  words,  or  state  a  simple 
thought  in  a  sentence  and  note  the  actions  of  both 
mind  and  voice  necessary  to  make  it  clear  and 
interesting  to  another. 

Expression  is  the  manifestation  of  mental  activity; 
the  outward  sign  of  life  and  spirit. 

Delivery  is  the  expression  of  the  human  being 
through   the   human   organism.    It   results   from   the 


l8  FOUITOATIOWS   OF   EXPRESSIOW 

right  union  of  the  modulations  of  the  voice  and  actions 
of  the  body  as  natural  signs  of  the  speaker's  experience. 

Verbal  Expression  is  the  representation  of  ideas  by 
conventional  symbols  or  words. 

Vocal  Expression  is  the  manifestation  of  the  pro- 
cesses of  thought  and  feeling  through  modulation  of  the 
tone. 

Pantomimic  Expression  is  the  action  of  the  body 
revealing  activities  of  being. 

A  Fundamental  is  a  primary  truth,  action,  or  con- 
dition which  lies  at  the  basis  of  other  elements. 

An  Accidental  is  a  secondary  fact,  truth,  condition, 
action,  or  modulation  which  is  more  external  and 
conditioned. 

Modulations  are  expressive  actions  of  the  voice  and 
always  imply  a  spontaneous  element. 

Manipulations  are  volitional  productions  of  any 
action  of  the  voice  or  body.  They  are  always  mechan- 
ical and  imply  absence,  or  suppression,  of  the  spon- 
taneous elements. 

Training  is  the  process  of  making  normal  or  perfect 
any  organism  by  stimulating  natural  processes  of 
growth  and  development.  It  is  a  conscious  and  deliber- 
ative stimulation  of  nature's  own  processes. 

A  Study  is  an  observation  or  experiment  to  find  a 
fundamental  action  or  condition. 

A  Problem  is  a  synthetic  exercise  or  endeavor  to 
secure  a  condition  or  outward  effect  by  stimulating  the 
psychic  cause. 

A  Technical  Exercise  is  some  fundamental  action 
to  be  correctly  practised  in  accordance  with  a  principle. 


n. 

CONCENTRATION  AND  ITS  EXPRESSION. 

Since  expression  is  an  effect  as  natural  as  the  bloom- 
ing of  a  rose  and  as  spontaneous  as  the  song  of  the  bird, 
to  improve  it  requires  primarily  the  stimulation  of  its 
mental  cause.  Hence,  it  is  necessary  first  to  develop 
the  actions  of  the  mind  which  directly  produce  modula- 
tions of  voice  or  their  nattiral  signs. 

I.  Elements  of  Thinking.  The  principles  regard- 
ing fundamentals  apply  not  alone  to  voice  modulations 
but  to  every  phase  of  expression.  Not  only  is  thinking 
fundamental  to  expression,  but  thinking  itself  has  cer- 
tain fundamental  elements  which  must  be  carefully 
observed. 

The  primary  elements  of  thinking  are:  first,  concen- 
tration upon  one  point,  and  secondly,  a  leap  of  the  mind 
to  another. 

Note  for  example,  that  after  a  walk  down  the  street 
as  you  recall  the  persons  you  met  or  the  objects  that 
awakened  attention,  your  mind  concentrates  attention 
upon  one  point  after  another.  Or  if  you  think  over 
some  walk  you  have  taken  along  a  country  road  your 
mind  will  concentrate  upon  a  tree  here  and  a  rock 
there,  upon  a  house  on  this  side  and  a  bam  on  that, 
upon  some  bridge  or  cluster  of  flowers,  some  distant 
view,  upon  whatever  attracted  observation.  The  mind 
in  thinking  leaps  from  one  conception  to  another  as 
the  eye  leaps  from  object  to  object. 

We  can  dominate  this  process  of  thinking  by  holding 
or  concentrating  attention  upon  successive  objects  and 

ft 


20  FOUNDATIONS  OF  EXPRESSION 

by  accentuating  the  progressive  leap  of  the  mind.  In 
musing  the  mind  drifts  from  point  to  point  without 
active  concentration. 

It  stays  for  an  instant  here  and  there,  and  obeying  the 
first  impulse  or  association  drifts  passively  from  idea 
to  idea.  But  in  genuine  thinking  the  mind  holds  its 
attention  longer  upon  each  successive  centre  and 
deliberatively  chooses  another  point,  it  may  be  from 
many  possible  ones,  upon  which  next  to  concentrate 
itself. 

Both  the  staying  of  the  attention  upon  each  idea  and 
the  leap  from  idea  to  idea  may  be  increased.  The  mind 
can  be  made  to  dwell  longer  upon  an  object  or  idea  and 
thus  receive  a  deeper  impression  and  cause  discrimi- 
nation to  be  more  decided  and  definite.  This  staying  of 
the  mind  and  the  active  concentration  of  the  energies 
upon  each  successive  idea  is  the  first  step  necessary  to 
improve  expression. 

That  attention  is  of  fundamental  importance  in 
expression  can  be  easily  realized.  If  we  read  the 
following  poem  in  two  ways:  first,  with  little  _ 
attention,  allowing  the  mind  to  drift  passively 
from  idea  to  idea  without  receiving  a  vivid  and  definite 
impression,  the  expression  will  be  superficial  and  tame. 
But  if  we  definitely  concentrate  attention  upon  each 
successive  idea  and  receive  a  decided  impression,  the 
whole  rendering  becomes  animated,  varied,  and  full  of 
interest.  The  difference  between  the  two  renderings 
will  be  proportional  to  the  degree  of  attention. 

I  hear  the  dashing  of  a  thousand  oars, 

The  angry  waters  take  a  deeper  dye ; 
A  thousand  echoes  vibrate  from  the  shores 

With  Athens'  battle-cry  .... 

Victory,  sitting  on  the  Seven  Hills, 

Had  gain'd  the  world  when  she  had  mastered  thee} 
Thy  bosom  with  tlie  Roman  war-note  thrills. 

Wave  of  the  inland  ««<> 


CONCENTRATION    AND    ITS    EXPRESSION  21 

Across  the  deep  another  music  swells, 
On  Adrian  bays  a  later  splendor  smiles; 

Power  hails  the  marble  city  where  she  dwells 
Queen  of  a  hundred  isles.  .  .  . 

But  the  light  fades;  the  vision  wears  away; 

I  see  the  mist  above  the  dreary  waves; 
Blow,  winds  of  Freedom,  give  another  day 

Of  glory  to  the  brave. 

From  ■•  Mare  Mediterraneum."  JOHN  NICHOL 

MY  REST. 

Round  yon  snowy  house  green  woods  dream ; 

'Twixt  the  giant  boughs  moonbeams  stream 

Ah  !  fain  I'd  adore  ev'ry  tree; 

Here  dreamt  1  of  yore  happily. 

All  my  many  songs  found  I  here, 

'Mid  thy  branches  heard,  woodland  dear  I 

In  my  tiny  room,  vine  entwin'd, 

Can  I  those  sweet  thoughts  once  more  find  ? 

Here  the  Rhine  like  to  silv'ry  band. 

Like  to  sunbeam,  flows  o'er  the  land. 

Wind,  which  'mid  green  boughs  o'er  me  blows, 

Once  thy  lullaby  brought  repose 

CARMEN    SYLVA. 

In  reading  silently  we  think  rapidly.  In  reading 
aloud,  if  we  read  with  any  naturalness  or  earnestness, 
we  think  more  slowly,  and  the  mind  is  held  longer  upon 
successive  points.  In  listless  reading  the  mind  rests 
here  and  there  almost  at  random ;  but  in  earnest  think- 
ing and  expression  the  mind  is  held  intensely  concen- 
trated until  a  definite  impression  is  made.  There  is  a 
pause  to  receive  the  impression  and  a  vigorous  assertion 
in  the  following  phrase. 

We  can  hold  out  a  lens  and  focus  the  rays  of  the  sun, 
but  we  must  necessarily  steady  the  glass  for  an  instant 
or  there  will  be  no  flame.  So  to  concentrate  the  mind 
and  awaken  an  inner  fire,  we  pause  and  focus  mental 
energy,  and  the  pause  must  be  directly  due  to  thought. 

The  most  common  fault  in  reading  aloud  is  trying  to 
think  as  we  do  in  silent  reading.  The  student  should 
carefully  study  and  master  the  difference. 


22  FOUITDATIONS   OF   EXPRESSION 

Read  the  following  poem  in  silence  simply  to  gather 
its  general  meaning ;  then  endeavor  to  convey  its     . 
ideas  to  another,  and  note  that  in  reading  aloud 
attention  is  staid  longer,  and  more  definitely  focussed 
upon  each  successive  idea. 

THE  HOUSE  AND  THE  ROAD. 

The  little  Road  says  Go, 

The  little  House  says  Stay; 
And  0,  it's  bonny  here  at  home, 

But  I  must  go  away. 

The  little  Road,  like  me, 

Would  seek  and  turn  and  know; 
And  forth  I  must,  to  learn  the  things 

The  little  Road  would  show  I 

And  go  I  must,  my  dears. 

And  joiu-ney  while  I  may, 
Though  heart  be  sore  for  the  little  House 

That  had  no  word  but  Stay, 

Maybe,  no  other  way. 

Your  child  could  ever  know 
Why  a  little  Hotise  would  have  you  Stay, 

When  the  little  Road  says,  Go. 

JOSEPHINE  PRESTON   PEABODY. 

Render  the  foUovmig  passage  accentuating  both  the 
concentration  and  the  progressive  transition  of     ^^ 
the  mind  in  thinking  and  note  the  effect  upon 
Expression. 

j  THE  BLACKBIRD. 

The  nightingale  has  a  lyre  of  gold. 

The  lark's  is  a  clarion  call^ 
And  the  blackbird  plays  but  a  borwood  flute, 

But  I  love  him  best  of  all. 

For  his  song  is  all  of  the  joy  of  life, 

And  we  in  the  glad  spring  weather. 
We  two  have  listened  till  he  sang 

And  awoke  our  hearts  together. 

WILLIAM  ERNEST  HENLEY. 


COHCEKTRATION   AlfD   ITS   EXPRESSION  23 

Attention  lies  at  the  basis  of  all  power,  and  any  real 
increase  of  mental  energy  depends  upon  its  develop- 
ment. All  education,  all  development  of  power  to 
think,  and  all  creative  energy,  in  fact,  depend  upon  the 
discipline  of  attention. 

Render  this  poem  many  times,  intensifying  the  mean- 
ing with  each  reading  and  note  the  differences    -^- 
in  the  mental  and  vocal  actions. 

WHERE  GO  THE   BOATS? 

Dark  brown  is  the  river,  golden  is  the  sand. 

It  flows  along  forever,  with  trees  on  either  hand. 

Green  leaves  a-floating,  castles  of  the  foam, 

Boats  of  mine  a-boating,  —  where  will  all  come  home  ? 

On  goes  the  river  and  out  past  the  mill, 

Away  down  the  valley,  away  down  the  hill. 

Away  down  the  river,  a  himdred  miles  or  more, 

Other  little  children  shall  bring  my  boats  ashore. 

R.  L.   STEVENSON. 

Give   some   fable,   tell  some   story,   or  explain   the 
thought  of  the  following    in  your  own  words,    ^^ 
accentuating  definitely  each   successive  concen- 
tration of  the  mind. 

THE   PINE   AITO   THE   PALM. 

In  the  far  North  stands  a  Pine-tree,  lone,  upon  a  wintry  height; 
It  sleeps:  around  it  snows  have  thrown  a  covering  of  white. 
It  dreams  forever  of  a  Palm  that,  far  i'  the  Morning-land, 
Stands  silent  in  a  most  sad  calm  midst  heaps  of  burning  sand. 

From  Heine.  LANIER. 

An  Elementary  Action  of  the  Mind  consists  in  con- 
centration upon  one  point  and  a  progressive  leap  or 
transition  to  another. 

Concentration  is  a  voltmtary  staying  of  attention 
upon  one  point. 

Transition  is  a  variation  in  thought,  situation,  or 
feeling,  or  a  change  in  expression  caused  by  such  a 
mental  change. 


24  FOUNDATIONS    OF    EXPRESSION 

2.  Pause.  The  concentration  of  the  mind  and  the 
reception  of  an  impression  sufficiently  definite  to  cause 
expression  demand  a  period  of  silence.  "  Silence  is  the 
father  of  speech."  In  natural  conversation,  however 
quick,  however  animated  or  excited,  innumerable  pauses 
are  necessary  on  account  of  the  action  of  the  mind. 
During  a  pause,  however  short,  the  mind  lays  hold  of 
its  idea  and  chooses  the  words.  In  all  effective  or  natural 
reading  and  speaking  silence  precedes  utterance. 

The  length  of  pause  is  due  to  the  intensity  of  thinking 
or  to  the  degree  of  clearness,  vividness,  and  depth  of  the 
impression.  In  taking  up  a  new  subject,  in  weighing 
an  idea  before  giving  it,  in  the  reception  of  all  impres- 
sions, the  length  of  pause  will  vary  according  to  the 
degree  of  mental  action,  the  extent  of  the  change 
the  mind  is  supposed  to  make,  or  the  importance  of 
the  idea. 

A  period  of  silence,  however,  is  not  necessarily  a 
pause.  It  may  be  hesitation.  Hesitation  is  a  stopping 
for  lack  of  ideas  or  a  word,  and  is  due,  not  to  the  presence 
of  thought,  but  to  a  mental  blank.  A  speaker  hesitates 
when  he  starts  before  he  has  fully  grasped  his  idea  and 
the  words  that  express  it.  Since  his  impression  does 
not  precede  and  determine  his  expression  he  is  compelled 
to  stop  for  lack  of  thought.  Failing  to  pause  at  the 
right  time  he  is  compelled  to  hesitate  during  the  act  of 
expression. 

Hesitation  is  one  of  the  worst  faults  that  may  occur 
in  both  reading  and  speaking.  It  not  only  reveals 
chaos  in  the  thinking  of  the  speaker,  lack  of  definite 
precedent  attention  and  impression  before  expression, 
but  it  prevents  natural  attention  on  the  part  of  the 
hearer.  The  remedy  for  hesitation  is  genuineness  of 
thinking,  a  right  use  of  pauses,  a  strengthening  of  the 
power  to  stay  the  attention  and  wait  for  expression  until 
a  complete  impression  has  been  formed. 


CONCENTRATION    AND    ITS    EXPRESSION 


^5 


Hesitation  for  a  word  may  be  turned  into  a  genuine 
pause  by  staying  and  concentrating  the  mind  before 
beginning  the  phrase. 

Whenever  attention  is  centred  merely  upon  words  or 
upon  form,  as  is  the  case  in  proof-reading,  the  pauses 
are  few,  and  the  stops  usually  have  little  meaning.  But 
if  the  passage  is  read  with  intensity  of  thought,  if  there 
is  comprehension  of  its  meaning  rather  than  of  its  mere 
form,  there  will  be  long  pauses  and  the  consequent 
utterance  seems  to  come  out  of  the  silence.  There 
is  a  rhythmic  alternation  between  silence  and  speech. 

Read  over  some  passage,  keeping  the  attention  upon 
the  spelling,  punctuation,  type  or  form  pronouncing  the 
words ;  then  give  it  with  the  centre  of  interest  in    . . 
the  meaning  and  with  intense  realization  of  the 
thought  while  the  words  or  form  are  made  subordinate. 
What  is  the  chief  difference? 

I  hide  in  the  solar  glory,  I  am  dumb  in  the  pealing  song, 
I  rest  on  the  pitch  of  the  torrent,  in  slumber  I  am  strong. 
No  numbers  have  counted  my  tallies,  no  tribes  my  house  can  fill, 
I  sit  by  the  shining  Fount  of  Life,  and  pour  the  deluge  still;  .  .  . 
No  ray  is  dimmed,  no  atom  worn,  my  oldest  force  is  good  as  new, 
And  the   fresh  rose   on  yonder  thorn   gives    back  the    bending 
heavens  in  dew. 

"  Song  of  Nature."  EMERSON. 

Pause  is  apt  to  be  regarded  as  something  so  simple 
that  it  needs  no  attention;  but  rarely  do  readers  or 
speakers  realize  the  value  of  silence,  and  the  fact  that 
the  power  to  stay  attention  until  the  mind  has  received 
a  definite  impression  lies  at  the  foundation  of  all  natural 
modulation  of  the  voice. 

Study  carefully  some  interesting  passage,  prolonging 
the  pauses,  not  mechanically  or  artificially,  but  as  the 
result  of  intense  thinking  and  the  reception  of    . 
impressions,  and  note  that  such   prolonging  of 
the   attention   makes   the   utterance   of   the   following 
phrase  vigorous  and  natural. 


26  FOUIfDATIONS  OF  EXPRESSIOW 

At  twilight  on  the  open  sea 

We  passed,  with  breath  of  melody  — 

A  song,  to  each  familiar,  sung 

In  accents  of  an  alien  tongue. 

"We  could  not  see  each  other's  face, 

Nor  through  the  growing  darkness  trace 

Our  destinies ;  but  brimming  eyes 

Betrayed  unworded  sympathies. 

JOHN   B.   TABB. 

Speak  not,  I  passionately  entreat  thee,  till  thy  thought  have 
silently  matured  itself  .  .  .  Out  of  Silence  comes  thy  strength. 
"  Speech  is  silvern,  Silence  is  golden ;  Speech  is  human.  Silence 
is  divine." 

CARLYLE. 

L»  ENVOI. 

When  Earth's  last  picture  is  painted, 

and  the  tubes  are  twisted  and  dried, 
When  the  oldest  colors  are  faded,  and 

the  youngest  critic  has  died. 
We  shall  rest,  and,  faith,  we  shall  need  it  — 

lie  down  for  an  aeon  or  two, 
Till  the  Master  of  all  Good  Workmen  shall 

set  us  to  work  anew! 

And  those  that  were  good  shall  be  happy; 

they  shall  sit  in  the  golden  chair ; 
They  shall  splash  at  a  ten-league  canvas 

with  brushes  of  comet's  hair ; 
They  shall  find  real  saints  to  draw  from  — 

Magdalene,  Peter,  and  Paul; 
They  shall  work  for  an  age  at  a  sitting 

and  never  grow  tired  at  all. 

And  only  the  Master  shall  praise  us, 

and  only  the  Master  shall  blame ; 
And  no  one  shall  work  for  money,  and  no 

one  shall  work  for  fame ; 
But  each  for  the  joy  of  the  working,  and 

each,  in  his  separate  star. 
Shall  draw  the  Thing  as  he  sees  It,  for 

the  God  of  things  as  They  Are ! 

KIPLING. 

Tell  a  story  in  your  own  words,  pausing  long  and 
allowing  the  mind  time  to  receive  an  impression  of  each 
event  and  to  choose  the  words  to  represent  it  and    -  g 
justify  the  pause  by  the  force  of   the  following 
phrase.    Do  not  hesitate,  but  definitely  pause.    Do  not 


COWCElfTRATION   A5D   ITS   EXPRESSION 


27 


start  to  express  a  phrase  without  first  completely  grasp- 
ing both  ideas  and  words. 

A  Pause  is  a  period  of  silence  due  to  the  presence  of 
mental  or  emotional  activity. 

A  Hesitation  is  a  period  of  silence  caused  by  lack  of 
mental  activity. 

An  Impression  is  the  result  of  concentration,  that  is, 
conception  and  the  feeling  it  awakens. 

3.  Phrasing.  The  concentration  of  the  mind  upon 
an  idea  or  the  reception  of  an  impression  during  a  pause 
causes  the  words  which  express  it  to  be  gathered  into 
a  single  group  and  given  with  the  unity  of  one  word. 
The  words  belonging  to  one  idea  cluster  about  it  like 
filings  around  a  magnet. 

In  natural  reading  there  is  the  same  phrasing  or  group- 
ing of  words  as  in  conversation.  In  satisfactory  read- 
ing there  must  be  instant  perception  of  the  words  before 
the  concentration  and  conception.  In  conversation  the 
idea  comes  first  and  the  mind  chooses  the  words. 

All  words  have  not  the  same  relative  value  or  impor- 
tance. There  is  always  one  word  on  which  attention  is 
concentrated.  In  the  phrase  "  In  the  dim  twilight," 
for  example,  the  mind  naturally  concentrates  its  atten- 
tion on  "  twilight  "  and  the  other  words  are  accidental. 
It  takes  the  whole  phrase  to  make  a  picture,  and  the 
words,  on  account  of  the  unity  of  the  mental  conception, 
are  gathered  by  the  voice  into  a  group.  "  In  the  early 
morning,"  in  ordinary  speech,  is  as  much  one  word  as 
"  nevertheless  "  or  "  indivisibility." 

A  phrase  expressing  an  idea  has  been  called  an  "  ora- 
toric  word."  As  the  individual  word  has  an  accent  on 
one  syllable,  so  the  touch  and  inflexion  come  upon  th« 
central  word  of  the  phrase  and  the  others  are  gathered 
around  and  subordinated  to  it  by  shorter  inflexions  and 
intervals. 


a8  FOUNDATIONS   OF   EXPRESSION 

Phrasing  or  grouping  is  definite  in  proportion  to  the 
clearness  of  the  thinking.  Where  there  is  uncertainty,  a 
failure  to  realize  the  meaning  of  words,  or  where,  for  any 
reason,  the  mental  picture  does  not  form  definitely  and 
instinctively,  the  words  may  be  broken  apart  unnaturally- 
In  conversation  the  phrasing  is  always  natural  because 
the  words  are  the  speaker's  own,  and  the  direct  expres- 
sion of  his  thought. 

Bad  phrasing  is  usually  found  in  reading,  and  is  due 
to  a  lack  of  genuine  thinking,  a  want  of  attention,  of  a 
true  pause,  and  of  active  penetration  through  words  to 
the  fundamental  picture,  and  the  gathering  of  the  words 
about  these,  making  all,  both  idea  and  words,  the  reader's 
own  before  speaking.  Vivid  realization  of  the  ideas,  and 
the  words  belonging  to  them  as  a  part  of  the  impression 
before  expression,  is  the  cause  of  true  phrasing. 

Render  the  following,  concentrating  the  mind  and 
forming  a  clear  idea  during  each  successive  pause,    ^^ 
giving  time  for  eye  and  mind  to  act  before  each 
phrase. 

O  Thou!  whose  balance  does  the  mountains  weigh, 
Whose  will  the  wild  tumultuous  seas  obey, 
Whose  breath  can  turn  those  watery  worlds  to  flame. 
That  flame  to  tempest,  and  that  tempest  tame. 

Wherever,  O  man,  God's  sun  first  beamed  upon  thee  —  where 
the  stars  of  heaven  first  shone  above  thee,  —  where  His  light- 
nings first  declared  His  omnipotence,  and  His  storm  and  wind 
shook  thy  soul  with  pious  awe,  —  there  are  thy  affections, 
there  is  thy  country.  Where  the  first  human  eye  bent  lovingly 
over  thy  cradle,  —  where  thy  mother  first  bore  thee  jo)^ully  on 
her  bosom,  where  thy  father  engraved  the  words  of  wisdom  on 
thy  heart,  —  there  are  thy  affections,  there  is  thy  country. 

M.   E.  ARNDT. 

Note  in  the  following  poem  a  tendency  to  pause  at 
the  end  of  the  third  line.     Then  read  the  third  and     ..  _ 
fourth  lines  with  genuine  realization  of  the  ideas 
and  note    the    different    effects    secured    by   pausing 


CONCENTRATION   AND   ITS   EXPRESSION  29 

after  "  murmurs  "  and  after  "  within  " ;  that  the  first 
destroys  and  the  second  accentuates  the  sequence  of 
ideas. 

APPRECIATION. 

To  the  sea-shell's  spiral  round 
'Tis  your  heart  that  brings  the  sound: 
The  soft  sea-murmurs  that  you  hear 
Within,  are  captured  from  your  ear. 

You  do  poets  and  their  song 

A  grievous  wrong, 

If  your  own  soul  does  not  bring 

To  their  high  imagining 

As  much  beauty  as  they  sing. 

T.    B.  ALDRICH. 

Observe  in  the  following  the  difference  between       ^ 
pausing  after  "  nature  "  and  after  '*  rolled." 

Out  from  the  heart  of  nature  rolled 
The  burden  of  the  Bible  old. 

" The  Problem."  EMERSON. 

Mechanical  rules,  such  as  "  Pause  before  a  preposi- 
tion, or  relative  pronoun,"  and  the  Uke  are  useless. 
They  are,  moreover,  vicious  because  they  concentrate 
the  student's  attention  upon  accidentals,  and  may  pre- 
vent genuine  thinking. 

There  is  frequently  some  difficulty  in  bringing  words 
into  the  right  connection  with  ideas.  Usually  this  is  due 
to  lack  of  definiteness  in  conceiving  the  ideas.  When 
the  mind  exactly  conceives  each  successive  centre  of 
attention  and  thinking  moves  forward  with  decision  and 
clearness  of  vision,  the  phrasing  is  natural.  In  the 
sentence  "  George  only  knows  James,"  if  the  word 
"  only  "  is  spoken  with  "  George  "  it  implies  that  no 
one  else  knows  him.  If  "  only  "  is  given  with  the 
following  words  it  means  that  "  George  "  knows  no  one 
else  but  James.  Usually,  however,  such  ambiguity  is 
prevented  by  good  writing,  the  first  idea  being  expressed 


JO  FOUNDATIONS   OF   EXPRESSION 

"  Only  George  knows  James,"  the  natural  tendency 
being  to  put  "  only  "  with  the  following  word. 

Render    some    unfamiliar    passage.    Prolong    each 
successive  pause,  and  be  sure  that  you  use  your  eye  as 
the  agent  of  your  thinking.    Grasp  both  the  word     -  g 
and  the  idea  before  speaking  each  phrase,  and 
note  the  effect  of  your  thinking  upon  phrasing. 

THE  GIFTS   OF  GOD. 

The  light  that  fills  thy  hotise  at  morn, 
Thou  canst  not  for  thyself  retain ; 
But  all  who  with  thee  here  are  born, 
It  bids  to  share  an  equal  gain. 

The  wind  that  blows  thy  ship  along, 
Her  swelling  sails  cannot  confine ; 
Alike  to  all  the  gales  belong, 
Nor  canst  thou  claim  a  breath  as  thine. 

The  earth,  the  green  out-spreading  earth. 
Why  hast  thou  fenced  it  off  from  me  ? 
Hadst  thou  than  I  a  nobler  birth, 
Who  callest  thine  a  gift  so  free  ? 

The  wave,  the  blue  encircling  wave, 
No  chains  can  bind,  no  fetters  hold ; 
Its  thunders  tell  of  Him  who  gave 
What  none  can  ever  buy  for  gold. 

NATURE. 


JONES  VERY 


O  Earth !  Thou  hast  not  any  wind  that  blows 
Which  is  not  music  —  every  weed  of  thine 
Pressed  rightly  —  flows  in  aromatic  wine : 

And  every  humble  hedgerow-flower  that  grows 
And  every  little  brown  bird  that  doth  sing 

Hath  something  greater  than  itself,  and  bears 
A  living  word  to  every  living  thing. 

Albeit  it  holds  the  message  unawares. 

All  shapes  and  sounds  have  something  which  is  not 
Of  them ;  a  spirit  broods  amid  the  grass ; 

Vague  outlines  of  the  everlasting  thought 
Lie  in  the  melting  shadows  as  they  pass ; 

And  touch  of  an  eternal  presence  thrills 

The  fringes  of  the  sunset  and  the  hills. 

RICHARD  REALT. 


CONCENTRATION   AND   ITS   EXPRESSION  y 

Still  glides  the  stream,  and  shall  forever  glide; 

The  Form  remains,  the  Function  never  dies: 

"While  we,  the  brave,  the  mighty,  and  the  wise, 

We  men,  who  in  our  morn  of  youth  defied 

The  elements,  must  vanish ;  —  be  it  so, 

Enough,  if  something  from  our  hands  have  pow«r 

To  live,  and  act,  and  serve  the  future  hour; 

And  if,  as  toward  the  silent  tomb  we  go. 

Through  love,  through  hope,  and  faith's  transcendent  dower, 

We  feel  that  we  are  greater  than  we  know. 

From  Sonnet  on  the  River  Duddon.  WORDSWORTH. 

Speak  upon  some  simple  topic,  definitely  grasping 
each  successive  idea,  giving  the  words  that  express  it 
naturally.  Be  sure  not  to  hesitate  after  unimportant 
words  but  give  the  whole  phrase  expressing  the  idea 
with  completeness  as  in  common  conversation. 

Phrasing  is  the  grouping  of  words  caused  by  gen- 
uinely thinking  the  thought  they  are  meant  to  express. 

Phrasing  shows  that  delivery  must  be  governed  not 
by  the  rules  of  grammar,  but  by  the  principles  of  logic, 
or  the  laws  of  thought. 

4.  Touch.  When  we  observe  natural  and  entertain- 
ing conversation,  we  find  a  series  of  strokes  or  accents. 
Each  idea,  each  concentration  of  the  mind  receives  a 
central  touch  as  definite  as  the  stroke  of  a  hammer.  As 
the  stroke  implies  a  lifting  of  the  hammer  so  speech 
implies  a  pause  for  mental  concentration,  emotional 
realization,  breathing,  and  the  establishment  of  right 
conditions.  But  to  the  listener  a  pause  is  a  mere  blank 
unless  intensified  by  a  vigorous  expression  of  the  fol- 
lowing phrase.  Silence  is  not  only  necessary  for  the 
reception  of  an  impression  but  pause  is  an  outward 
manifestation  of  inward  activity,  an  outer  sign  of  hidden 
life. 

The  first  of  these  outward  signs  or  modulations  of  the 
voice  and  the  one  possibly  most  vitally  related  to  pause, 
is  touch.  Pause  and  touch  are  in  proportion  and  as 
vitally  related  to  each  other  as  cause  and  effect.    Tht 


3»  FOUNDATIONS   OF   EXPRESSION 

more  intense  the  preparatory  attention  the  greater  will 
be,  not  only  the  length  of  pause,  but  also  the  vigor  and 
decision  of  the  consequent  stroke  upon  the  central  word 
of  the  phrase.  During  the  pause  the  impression  is 
received ;  by  active  touch  it  is  asserted  or  expressed. 

Alternation  of  pause  and  touch  constitutes  one  of 
the  most  important  phases  of  rhythm  in  expression. 
Rhythm  is  a  law  of  all  life,  and  its  mastery  is  necessary 
in  every  art,  especially  in  one  like  vocal  expression  which 
deals  not  with  space  but  with  time.  Silence  and  speech 
must  not  only  alternate  but  must  alternate  in  rhythmic 
unity.  They  must  have  continuity  and  sequence. 
Both  must  be  due  to  attention. 

The  right  alternation  of  pause  and  touch  is  one  of  the 
primary  elements  of  all  naturalness  in  conversation, 
reading,  or  speaking.  To  improve  expression  demands 
careful  preservation  and  accentuation  of  the  elements  of 
naturalness.  In  familiar  conversation  pauses  may  be 
short  and  touches  slight,  but  the  moment  there  is  a 
sense  of  weight  and  importance  the  pauses  must  be- 
come longer  and  the  touches  more  decided  in  direct 
proportion. 

The  accentuation  of  these  two  in  rhythmic  sequence 
and  unity,  and  as  the  direct  expression  of  increase  in  the 
rhythm  of  thinking,  is  one  of  the  first  and  most  impor- 
tant elements  in  the  improvement  of  delivery.  The 
importance  of  touch  cannot  be  over-estimated.  As  the 
music  of  the  violin  depends  upon  the  delicacy  and  deci- 
sion with  which  the  bow  touches  the  string,  as  beautiful 
piano  playing  consists  in  the  touch,  so  a  speaker  or 
reader  is  effective  in  proportion  to  the  decided  ictus  of 
his  voice  in  expressing  the  clearness  of  his  impressions 
and  the  vigor  of  his  attention. 

Touch  is  volitional,  requiring  not  only  concentration 
of  the  mind  and  a  decided  and  vigorous  leap  from  idea 
to  idea,  but  control  over  emotion  and  all  the  psychic 


CONCENTRATION    AND    ITS    EXPRESSION  33 

conditions,  as  also  over  the  breathing  and  the  physical 
conditions. 

Failure  in  the  clearness  of  the  impression  or  command 
of  any  of  the  means  of  expression  will  at  once  interfere 
with  touch.  A  jerk,  a  shove,  a  push,  a  swell  upon  words, 
will  lower  the  noblest  passage.  Indifference,  sarcasm, 
fear,  weakness,  vagueness  of  thinking,  lack  of  control 
over  emotions  or  familiarity  with  words,  hesitation,  lack 
of  command  over  the  voice  or  any  chaotic  condition  of 
the  mind,  will  degrade  the  touch. 

Every  thought,  emotion,  and  character  should  be 
expressed  with  as  much  dignity  as  possible.  Dramatic 
representation  of  an  undignified  character  or  the  telling 
of  a  story  by  a  speaker  demanding  "  fidelity  of  portrai- 
ture "  may  seem  occasionally  to  disobey  this  principle. 
But  without  the  power  to  make  a  decided  touch  even  the 
interpretation  of  an  undignified  character  is  not  possible. 
Touch  is  a  subjective  control  on  the  part  of  the  speaker, 
and  command  of  normal  action  and  dignified  touch  will 
add  power  to  the  expression  even  of  an  undignified 
character  or  an  abnormal  action  contrasted  with  the 
normal. 

The  greatest  misunderstanding  regarding  touch  has 
arisen  in  relation  to  emotion.  "  Swells,"  "  median 
stresses,"  "  intermittent  stresses,"  "  terminal  stresses," 
and  the  like,  have  been  recommended  as  necessary  and 
correct  means  of  expressing  certain  feelings.  On  the 
contrary,  all  emotions  should  be  expressed  by  definite 
radical  touches.  Emotions  vary  the  resonance  of  the 
voice,  but  the  touch  varies  only  in  proportion  to  the 
degree  of  intensity.  Its  variation  does  not  express  feel- 
ing but  volitional  control  over  feeling.  To  modify 
touch  or  inflexion  in  order  to  express  emotion  is  to 
introduce  one  of  the  worst  of  all  faults. 

If  a  rubber  hammer  strike  a  rubber  anvil  the  percus- 
sion will  differ  from  the  stroke  of  a  steel  hammer  upon 


34  FOUNDATIONS    OF    EXPRESSION 

a  steel  anvil,  but  the  stroke  and  the  force  may  be  ex- 
actly the  same.  This  difference  is  due  to  the  difference 
between  rubber  and  steel.  The  texture  of  the  human 
body  is  directly  modulated  by  emotion,  and  this  makes 
the  difference  between  the  expression  of  two  emotions. 
But  the  touch  should  be  as  decided  and  as  definite  as 
possible  in  the  expression  of  every  feeling  save  in  the 
expression  of  weakness. 

It  cannot  be  too  definitely  realized  that  the  vigor  of 
the  touch  is  in  direct  proportion  to  the  intensity  of 
the  feeling  no  matter  what  that  feeling  may  be.  Even 
in  the  expression  of  love  and  tenderness,  in  reverence 
and  prayer,  the  touch  should  be  as  vigorous  as  possible. 

In  sorrow  or  despair  there  is  a  tendency  to  lessen 
the  breath  and  to  give  voice  with  "  tremulo,"  "  semi- 
tonic  melodies,"  and  "  intermittent  stresses  " ;  but 
adequate  expression  of  sorrow  demands  not  less  but 
more  breath  than  usual,  for  dignity  and  nobleness 
require  that  we  express  not  the  despair  of  grief  but 
heroic  endeavor  to  control  it.  This  causes  touch  to 
be  most  decided,  most  important,  in  the  expression  of 
sorrow.  Otherwise,  all  expression  of  sorrow  will  be 
the  manifestation  of  weakness.  In  expressing  these 
emotions  calculated  to  soften  the  voice  it  is  really  the 
overtones  that  are  affected.  Touch  expresses  control 
over  the  feelings  and  must  be  decided  and  definite. 

Decision  of  touch  may  be  developed  by  rendering 
simple   passages    intensifying  the    thought    and    gn 
expressing  this  through  a  vigorous  ictus  of  the 
voice.    Justify  also  the  long  pauses  by  the  degree  of 
the  touch. 

Nothing 's  small  I  no  lily-muffled  hum  of  summer -bee  but  finds 
some  coupling  with  the  shining  stars;  no  pebble  at  your  feet 
but  proves  a  sphere;  no  chaffinch  but  implies  the  cherubim. 
.  .  .  Earth's  crammed  with  heaven,  and  every  common  bush 
afire  with  God,  but  only  he  who  sees  takes  off  his  shoes. 

■  Aurora  Leigh."  MRS.   BROWNING. 


CONCENTRATION   AND    ITS   EXPRESSION  35 

Another  exercise   to   develop  this  step  is  the    sug- 
gestion of  great  intensity,  resolution,  or  excite- 
ment.     In  the  following  animated  lyric  emphasize 
the  courage,  the  firm  resolve  and  determination  of  the 
Cornish  men  to  deliver  Trelawney. 

THE   SONG   OF  THE   WESTERN  MEN. 

A  good  sword  and  a  trusty  hand, 

A  merry  heart  and  true, 
King  James's  men  shall  understand 

What  Cornish  lads  can  do. 

And  have  they  fix'd  the  where  and  when  ? 

And  shall  Trelawney  die? 
Here's  twenty  thousand  Cornishmen 

Will  know  the  reason  why  1 

Out  spake  their  captain  brave  and  bold, 

A  merry  wight  was  he: 
"  If  London  Tower  were  Michael's  hold, 

We'll  set  Trelawney  free  1 

We'll  cross  the  Tamar,  land  to  land, 

The  Severn  is  no  stay,  — 
All  side  by  side  and  hand  to  hand. 

And  who  shall  bid  us  nay  ? 

And  when  we  come  to  London  wall, 

A  pleasant  sight  to  view, 
Come  forth,  come  forth,  ye  cowards  all. 

To  better  men  than  you." 

Trelawney,  he's  in  keep  and  hold, 

Trelawney,  he  may  die ! 
But  here's  twenty  thousand  Cornish  bold, 

Will  know  the  reason  why  I 

R.    D.   HAWKER. 

Render  a  passage  with  and  without  command  and 
intensity,  and  observe  the  necessity  of   intense 
concentration  and  vigorous  touch  in  expressing 
authority,  control,  or  earnestness. 

Worcester,  get  thee  gone,  for  I  do  see 
Danger  and  disobedience  in  thine  eye. 
You  have  good  leave  to  leave  us ;  when  we  need 
Your  use  and  counsel,  we  shall  send  for  you. 

"  Henry  rv."  SHAKESPEARE. 


36  FOUimATIONS   OF   EXPRESSION 

New  occasions  teach  new  duties ;  Time  makes  ancient  good  imcouth ; 
They  must  upward  still,  and  onward,  who  would  keep  abreast  with 

Truth ; 
Lo,  before  us  gleam  her  camp-fires  I  we  ourselves  must  Pilgrims  be, 
Launch   our   Mayflower,   and  steer   boldly  through   the   desperate 

winter  sea, 
Nor  attempt  the  Future's  portal  with  the  Past's  blood-rusted  key. 

"  The  Present  Crisis."  JAMES  RUSSELL  LOWELL. 

All  in  a  hot  and  copper  sky  the  bloody  Sun,  at  noon, 
Right  up  above  the  mast  did  stand,  no  bigger  than  the  Moon. 

COLERIDGE. 

Give  the  following  in  two  ways :  first,  as  the  words 
of  a  prince,  and  second,  as  those  of  a  clown,  and    „« 
observe  the  differences. 

When  Jacques  de  Molay  said,  amidst  the  fire,  —  "  My  trust  is 
in  God,  and  I  make  an  appointment  with  Philip  and  Clement  to 
meet  me  within  the  year  before  the  bar  of  God,"  the  true  regality 
was  in  the  martyr,  not  in  his  persecutors;  their  thrones  became 
pillories,  and  his  stake  became  a  throne. 

W.  R.  ALGER. 

Henceforth 
Let  me  not  hear  you  speak  of  Mortimer; 
Send  me  your  prisoners  by  the  speediest  means, 
Or  you  shall  hear  in  such  a  kind  from  me 
As  will  displease  you.  —  My  Lord  NorthimiberlEind, 
We  license  yotu:  departmre  with  your  son:  — 
Send  us  yoiur  prisoners,  or  you'll  hear  of  it. 

"Henry   IV."  SHAKESPEARE. 

Suit  the  action  to  the  word,  the  word  to  the  action;  with 
this  special  observance,  that  you  o'erstep  not  the  modesty 
of  nature:  for  anything  so  overdone  is  from  the  purpose  of 
playing,  whose  end,  both  at  the  first  and  now,  was,  and  is,  to 
hold,  as  't  were,  the  mirror  up  to  nature;  to  show  virtue  her 
own  feature;  scorn  her  own  image;  and  the  very  age  and 
body  of  the  time,  his  form  and  pressure. 

"Hamlet."  SHAKESPEARE. 

A  fourth  step  in  realizing  the  nature  and  function  of 
touch  and  in  developing  its  right  use  is  the  rendering 
of  a  variety  of  emotions. 

This  step  is  difficult  and  very  important.  It  may  be 
delayed  until  some  understanding  has  been  gained  as 
to  the  right  use  of  the  voice  and  the  nature  and  fimc- 


CONCENTRATION   AND    ITS   EXPRESSION  37 

tion  of  tone-color  and  intensity.  But  perverted  notions 
regarding  stress  are  so  common  that  it  is  necessary  in 
most  cases  for  the  student  speedily  to  realize  that  touch 
expresses  primarily  the  will  and  the  control  of  condi- 
tions, and  that  the  artificial  modulations  of  touch  that 
have  even  been  taught  in  systems  of  Elocution  are  real 
faults  and  should  be  avoided  as  such. 

Touch  expresses  the  degree  of  intensity,  the  degree 
of  concentration  or  earnestness,  the  command  over  the 
breath  and  all  the  conditions  of  tone  production.  It 
expresses  the  volitional  control  of  emotion  rather  than 
the  feeling  itself.  For  example,  note  in  the  following 
the  extreme  changes  in  feeling  and  how  these  are  ex- 
pressed by  extreme  change  in  key,  in  the  quality  of  the 
voice  and  in  the  movement,  but  observe  that  in  both 
emotions  the  touch  is  equally  decided.  If  any  differ- 
ence is  found,  the  more  tender  and  pathetic  the  feeling 
the  more  decided  and  vigorous  the  touch,  and  to  employ 
"  median  stresses  "  will  introduce  weakness  and  lack 
of  control.  Touch  increases  in  degree,  it  will  be  noticed, 
according  to  the  degree  of  control  by  the  will. 

Render  passages  full  of  excitement  and  passion  with 
and  without  control  and  note  that  command  of    _ . 
feeling  is  expressed  by  greater  decision  of  touch. 

Now,  men  of  death,  work  forth  your  will, 
For  I  can  suffer  and  be  still; 
And  come  he  slow,  or  come  he  fast. 
It  is  but  Death  who  comes  at  last. 

"  Marmion."     Immolation  of  Constance.  SCOTT. 

Queen  Catherine.     Pray  you  keep  your  way ; 

When  you  are  called,  return.     Now  the  Lord  help  me; 

They  vex  me  past  my  patience  i     Pray  you  pass  on. 

lenryVIII."  SHAKESPEARE. 

Fight,  gentlemen  of  England!  fight,  bold  yeomen  I 
Draw,  archers,  draw  your  arrows  to  the  head: 
Spur  your  proud  horses  hard,  and  ride  in  blood; 
Amaze  the  welkin  with  your  broken  staves. 
*  Richard  UL"  SUAKSSPKARft. 


38  FOUNDATIONS  OF  EXPRESSION 


Give  a  pathetic  passage  first  as  if  expressed  by  a 
;ak    man,    and  tl 
e,   and    note    the 
touch  in  the  second. 


weak    man,    and  then    expressed    by  a    strong 
one,   and    note    the    necessity   of    decision   of 


WHITE  ROSES. 

No  sleep  like  hers,  no  rest. 

In  all  the  :arth  to-night: 
Upon  her  whiter  breast 

Our  r  >ses  lie  so  light. 
She  had  no  oins  to  lose, 

As  so:  ve  might  say ; 
But  calmly  keeps  her  pale  repose, 

Till  God's  good  day. 

ERNEST  RHYS. 

KILLED   AT  THE  FORD. 

Only  last  night,  as  we  rod?  along, 

Down  the  dark  ;f  the  mountain  gap, 

To  visit  the  picket-guard  at  the  ford, 

Little  dreaming  of  any  mishap. 

He  was  humming  the  words  of  some  old  song: 

**  Two  red  roses  he  had  on  his  cap 

And  another  he  bore  at  the  point  of  his  sword." 

Sudden  and  swift  a  whistling  ball 

Came  out  of  a  wood,  and  the  voice  was  still ; 

Something  I  heard  in  the  darkness  fall, 

And  for  a  moment  my  blood  grew  chill ; 

I  spake  in  a  whisper,  as  he  who  speaks 

In  a  room  where  some  one  is  lying  dead; 

But  he  made  no  answer  to  what  I  said 

And  I  saw  in  a  vision  how  far  and  fleet 

That  fatal  bullet  went  speeding  forth, 

Till  it  reached  a  town  in  the  distant  North, 

Till  it  reached  a  house  in  a  sunny  street, 

Till  it  reached  a  heart  that  ceased  to  beat 

Without  a  murmur,  without  a  cry; 

And  a  bell  was  tolled,  in  that  far-off  town, 

For  one  who  had  passed  from  cross  to  crown. 

And  the  neighbors  wondered  that  she  should  die. 

LONGFELLOW. 

Render  short  lines  or  poems  expressing  different  feel- 
ings in   contrast,   and   observe   that  no  matter    «« 
how  tender  and  delicate  the  feeling,  it  may  be 
intensified  without  changing  its  character  by  increasing 


CONCENTRATION   AND   ITS   EXPRESSION 


39 


the  concentration  of  the  mind,  the  control  of  the 
breath,  and  the  decision  of  the  touch.  Observe  also 
that  touch  is  the  least  changeable  of  modulations  because 
it  expresses  will  or  command. 

There  is  no  chance,  no  destiny,  no  fate, 
Can  circumvent  or  hinder  or  control 
The  firm  resolve  of  a  determined  soul. 

ELLA   WHEELER   WILCOX. 

O  better  that  her  shattered  hulk  should  sink  beneath  the  wave. 
Her  thunders  shook  the  mighty  deep,  and  there  should  be  her  grave. 
Nail  to  the  mast  her  holy  flag,  set  every  threadbare  sail. 
And  give  her  to  the  god  of  storms,  the  lightning  and  the  gale. 

'Old  Ironside*."  OLIVER  WENDELL   HOLMES. 

TO-DAY. 

Lord,  for  to-morrow  and  its  needs,  I  do  not  pray; 

Keep  me  from  any  stain  of  sin  just  for  to-day ; 

Let  me  both  diligently  work  and  duly  pray ; 

Let  me  be  kind  in  word  and  deed  just  for  to-day, 

Let  me  be  slow  to  do  my  will,  prompt  to  obey; 

Help  me  to  sacrifice  myself  just  for  to-day. 

Let  me  no  wrong  or  idle  word  unthinking  say  — 

Set  thou  thy  seal  upon  my  lips  just  for  to-day. 

So  for  to-morrow  and  its  needs  I  do  not  pray. 

But  keep  me,  guide  me,  hold  me.  Lord,  just  for  to-day. 

Attributed  to  SAMUEL   WILBERFORCE. 

No  idlest  word  thou  speakest  but  is  a  seed  cast  into  Time, 
and  grows  through  all  Eternity  I  The  Recording  Angel,  con- 
sider it  well,  is  no  fable,  but  the  truest  of  truths;  the  paper  tablets 
thou  canst  burn;  of  the  "iron  leaf,"  there  is  no  burning. 

CARLYLE. 

The  basis  of  good  manners  is  self  reliance. 

Essay  on  Manners.  EMERSON. 

Sweet  bird !  thy  bower  is  ever  green,  thy  sky  is  ever  clear ; 
Thou  hast  no  sorrow  in  thy  song,  no  winter  in  thy  year ! 
Oh  1  could  I  fly,  I'd  fly  with  thee !  we'd  make,  with  joyful  wing, 
Our  annual  visit  o'er  the  globe,  attendants  on  the  spring. 

'To  the  Cuckoo."  LOGAN. 

*Ti8  midnight's  holy  hour,  and  silence  now 
Is  brooding  like  a  gentle  spirit  o'er 
The  still  and  pulseless  world.     Hark!  on  the  winds 
The  bell's  deep  tones  are  swelling,  —  'tis  the  knell 
Of  the  departed  year. 

GEORGE  D.  PRENTICE 


40  FOUNDATIONS  OF   EXPRESSION 

The  star  of  an  unconquered  will  has  risen  in  my  breast, 
I  stand  serenely  calm  and  still,  resolved  and  self-possessed. 
Fear  not  in  a  world  like  this,  and  thou  shalt  know  ere  long 
How  great  and  how  sublime  it  is  to  suffer  and  be  strong. 
Adapted  from  "  The  Liglit  of  the  Stars."  LONGFELLOW 

THE   WIND. 

Who  has  seen  the  wind? 

Neither  I  nor  you: 
But  when  the  leaves  hang  trembling, 

The  wind  is  passing  through. 
Who  has  seen  the  wind? 

Neither  you  nor  I : 
But  when  the  trees  bow  down  their  heads, 

The  wind  is  passing  by. 

CHRISTINA  G.  ROSSEITI. 

They  never  fail  who  die 

In  a  great  cause ;  the  block  may  soak  their  gore ; 

Their  heads  may  sodden  in  the  sun ;  their  limbs 

Be  strung  to  city-gates  and  castle  walls ; 

But  still  their  spirit  walks  abroad.     Though  years 

Elapse,  and  others  share  as  dark  a  doom. 

They  but  augment  the  deep  and  sweeping  thoughts 

Which  overpower  all  others,  and  conduct 

The  world  at  last  to  freedom. 

BYRON. 

The  outward  shows  of  sky  and  earth, 

Of  hill  and  valley,  he  has  viewed ; 
And  impulses  of  deeper  birth 

Have  come  to  him  in  solitude. 
In  common  things  that  round  us  lie 

Some  random  truths  he  can  impart,  — 
The  harvest  of  a  quiet  eye 

That  broods  and  sleeps  on  his  own  heart. 

WORDSWORTH, 

If  American  scholarship  is  not  in  place,  it  is  in  power.  If  it 
does  not  carry  the  election  to-day,  it  determines  the  policy  of 
to-morrow.  Calm,  patient,  confident,  heroic,  in  our  busy 
material  life  it  perpetually  vindicates  the  truth  that  the  things 
which  are  unseen  are  eternal.  So  in  the  cloudless  midsummer 
sky  serenely  shines  the  moon,  while  the  tumultuous  ocean  rolls 
and  murmurs  beneath,  the  type  of  illimitable  and  unbridled 
power;  but,  resistlessly  marshaled  by  celestial  laws;  all  the  wild 
waters,  heaving  from  pole  to  pole,  rise  and  recede,  obedient  to 
the  mild  queen  of  heaven. 

♦  The  Leadership  of  Educated  Men,-  GEORGE  WILLIAM  CURTIS 


CONCENTRATION   AND   ITS   EXPRESSION  4I 

Accentuate  as    much    as    possible  in    reading   and 
speaking    the    concentrations    of   the    mind    or    _ 
rhythm    of   thinking   with    pause,    touch,    and 
phrasing,  and  the  rhythmic  elements  of  Expression. 

LIFE'S   MIRROR. 

There  are  loyal  hearts,  there  are  spirits  brave, 

There  are  souls  that  are  pure  and  true; 
Then  give  to  the  world  the  best  you  have 

And  the  best  will  come  back  to  you. 

Give  love,  and  love  to  your  life  will  flow, 

A  strength  in  your  utmost  need ; 
Have  faith,  and  a  score  of  hearts  will  show 

Their  faith  in  your  word  and  deed. 

Give  truth,  and  your  gift  will  be  found  in  kind, 

And  honor  will  honor  meet; 
And  a  smile  that  is  sweet  will  surely  find 

A  smile  that  is  just  as  sweet. 

For  life  is  the  mirror  of  King  and  slave ; 

'Tis  just  what  we  are  and  do; 
Then  give  to  the  world  the  best  you  have. 

And  the  best  will  come  back  to  you. 

MADELINE   S.   BRIDGES 
THE    GREEK   SPIRIT. 

All  the  triumphs  of  truth  and  geniuF  over  prejudice  and  power, 
in  every  country  and  in  every  age,  have  been  the  triumphs  of 
Athens.  Wherever  a  few  great  minds  have  made  a  stand  against 
violence  and  fraud  in  the  cause  of  liberty  and  reason,  there  has 
been  her  spirit  in  the  midst  of  them:  inspiring,  encouraging, 
consoling ;  —  by  the  lonely  lamp  of  Erasmus ;  by  the  restless 
bed  of  Pascal;  in  the  tribune  of  Mirabeau;  in  the  cell  of  Galileo; 
on  the  scaffold  of  Sidney.  But  who  shall  estimate  her  influence 
on  private  happiness?  Who  shall  say  how  many  thousands 
have  been  made  wiser,  happier,  and  better,  by  those  pursuits  in 
which  she  has  taught  mankind  to  engage ;  to  how  many  the 
studies  that  took  their  rise  from  her  have  been  wealth  in  poverty, 
—  liberty  in  bondage,  —  health  in  sickness,  —  society  in  soli- 
tude? Her  power  is  indeed  manifested  at  the  bar,  in  the  senate,  in 
the  field  of  battle,  in  the  schools  of  philosophy.  But  these  are 
not  her  glory.  Wherever  literature  consoles  sorrow,  or  assuages 
pain,  —  wherever  it  brings  gladness  to  eyes  which  fail  with 
wakefulness  and  tears,  and  ache  for  the  dark  house  and  the 
long  sleep,  —  there  is  exhibited  in  its  noblest  form  the  immortal 
influence  of  Athens. 


42  FOUWDATIOnS   OF   EXPRESSION 

Speak  with  great  earnestness  upon  some  topic  which 
profoundly  interests  you  or  upon  which  you  have 
true  convictions.  Prolong  the  pauses  intensely  „« 
and  reaUze  each  impression  before  expression. 
Give  each  successive  phrase  with  definite  force  on  some 
central  word  sufficient  to  justify  the  long  pause.  Accen- 
tuate the  rhythm  of  thinking  and  be  sure  that  it  dom- 
inates the  rhythm  of  expression. 

The  weakest  among  us  has  a  gift,  however  seemingly  trivial, 
which  is  peculiar  to  him,  and  which,  worthily  used,  will  be  a 
gift  also  to  his  race  forever.  RUSKIN, 

WORLD-STRANGENESS. 

Strange  the  world  about  me  lies, 

Never  yet  familiar  grown,  — 
Still  distiu-bs  me  with  surprise, 

Haunts  me  like  a  face  half  known. 
In  this  house  with  starry  dome, 

Floored  with  gem-like  plains  and  seas, 
Shall  1  never  feel  at  home, 

Never  wholly  be  at  ease? 

On  from  room  to  room  I  stray, 

Yet  my  Host  can  ne'er  espy ; 
And  I  know  not  to  this  day 

Whether  guest  or  captive  I. 
So  between  the  starry  dome 

And  the  floor  of  plains  and  seas 
I  have  never  felt  at  home, 

Never  wholly  been  at  ease. 

WILLIAM  WATSON. 

Touch  is  the  ictus  given  by  the  voice,  in  the  utterance 
of  a  phrase,  directly  expressive  of  concentration  of  the 
mind. 

Intensity  exists  in  proportion  to  the  depth,  centrality, 
and  command  of  force  and  life. 

Control  is  the  regulation  or  reserve  of  emotion  or 
force  by  will. 

Suppression  is  the  elimination  of  mental  action 
usually  imaginative  or  emotional  by  will. 


in. 

DISCRIMINATION  AND  INTERVALS. 

With  concentration  is  another  primary  action  of  the 
mind,  a  progressive  leap  from  one  centre  of  attention  to 
another.  All  thinking  is  associated  with  discrimination. 
The  more  vigorously  the  mind  is  focussed  upon  a  point, 
the  more  definitely  the  idea  is  conceived  and  the  more 
intensely  it  is  realized,  the  greater  will  be  the  tendency 
of  the  mind  to  move  forward  according  to  the  law  of 
association  of  ideas,  and  make  a  decided  transition  to 
another  concept. 

When  we  observe  the  effect  of  discrimination  upon 
the  voice,  we  find  that  in  proportion  to  the  degree  of 
variation  between  one  idea  and  another  will  be  the 
corresponding  degree  of  change  in  pitch. 

If  we  observe  the  simplest  conversation  we  find  that 
one  of  the  most  salient  points  is  a  constant  variation  in 
pitch.  There  is  an  interval  with  every  idea,  and  this  is 
upward  or  downward,  limited  or  wide  in  extent  accord- 
ing to  the  intensity  and  animation  of  the  thinking.  It  is 
a  perfectly  free  response  to  the  actions  of  the  mind. 
As  the  vigor  of  the  touch  and  length  of  the  pauses  are 
proportional  to  the  degree  of  concentration  so  thb 
length  of  the  interval  is  in  proportion  to  the  vividness 
and  definiteness  of  discrimination  between  ideas. 

If  we  compare  reading  with  talking,  another  differ- 
ence noted  is  the  constant  variation  of  pitch  in  the 
talker  while  the  reader  calls  successive  words  and  phrasef 
upon  the  same  key.  This  is  due  to  the  fact  that  in  talk- 
ing we  think  an  idea  before  we  speak  the  words  express 
ing  it.  In  reading,  however,  we  often  get  the  idea  afto" 
speaking  the  words. 

43 


44 


FOUNDATIONS   OF   EXPRESSION 


It  is  the  mental  action  that  causes  the  difference.  In 
reading,  as  a  rule,  there  is  less  definite  discrimination, 
less  realization  of  successive  ideas  than  in  talking. 
It  is  a  good  rule  to  "  Read  as  you  talk,"  but  it  is  a  better 
one  to  realize  and  discriminate  each  idea  when  reading 
or  speaking  to  an  audience  as  we  do  in  conversation. 

Take  a  passage  and  make  it  thoroughly  your  own, 
and  while  genuinely  thinking  and  feeling  it,  endeavor  to 
impress  its  successive  ideas  upon  another.  Be  „q 
sure  that  you  think  as  genuinely  as  in  conver- 
sation before  speaking  each  phrase.  Discriminate  espe- 
cially each  successive  idea  and  express  this  discrimi' 
nation  by  extreme  variation  in  pitch. 

THE  FOX  AND  THE  CAT. 

One  day  a  Cat  met  a  Fox  in  the  wood.  **  Ah,"  she  thought, 
**  he  is  sensible,  and  talked  of  in  the  world  a  great  deal ;  I  will 
speak  to  him."  So  she  said,  in  a  friendly  manner,  "  Good  morn- 
ing, Mr.  Fox;  how  are  you?  and  how  do  affairs  go  with  you 
these  hard  times?  " 

The  Fox  looked  down  upon  the  cat  in  scorn  for  a  long  time. 
At  last  he  said,  "Oh,  you  poor  little  whisker-cleaner,  you  grey  old 
tabby,  you  hungry  mouse-hunter,  what  are  you  thinking  about  to 
visit  me,  and  to  stand  there  and  ask  me  how  I  am  getting  on? 
What  have  you  learnt,  and  how  many  tricks  do  you  know?  " 

*'I  know  only  one  trick/'  answered  the  Cat,  meekly. 

"And  pray  what  i3  that?  "  he  asked. 

"Well,"  she  said,  "if  the  hounds  are  behind  me,  1  can  spring 
up  into  a  tree  and  save  myself." 

"Is  that  all?"  cried  the  Fox;  "why,  I  am  master  of  a 
hundred  tricks,  and  have  over  and  above  all  a  sackful  of  cun- 
ning ;  but  I  pity  you,  puss ;  come  with  me,  and  I  will  teach  you 
how  to  baffle  both  men  and  hounds." 

At  this  moment  a  hunter,  with  four  hounds,  was  seen  approach- 
ing. The  cat  sprang  nimbly  up  a  tree,  and  seated  herself  on  the 
highest  branch,  where,  by  the  spreading  foliage,  she  was  quite 
concealed. 

"Turn  out  the  sack,  Mr.  Foxl  turn  out  the  sack!"  cried  the 
Cat;  but  the  hounds  had  already  seized  him  and  held  him  fast. 
"Ah,  Mr.  Fox,"  cried  the  Cat,  "  your  hundred  tricks  are  not 
of  much  use  to  you ;  now  if  you  had  known  only  one  like  mine, 
you  would  not  have  lost  your  life." 

I  AMD  W.GRIMM. 


DISCRMIWATION   AITO   INTERVALS  45 

Render  the  first  line  of  the  following,  first  as  one  idea 
and   then   as   four,  and   note   that   the  definite    ^^ 
individualizing  action  of  the  mind  causes  vari- 
ation in  pitch. 

I  slip,  I  slide,  I  gloom,  I  glance. 

Among  my  skimming  swallows ; 
I  make  the  netted  sunbeam  dance 

Against  my  sandy  shallows. 

"The  Brook."  TENNYSON. 

As  the  mind  leaps  and  conceives  with  perfect  free- 
dom so  is  change  of  pitch  free.  It  matters  little,  as  a 
rule,  in  which  direction  the  pitch  changes.  What  is 
needed  is  the  change  or  spontaneous  response  of  voice  to 
mind. 

Definitely  realize   each  idea   in   the    following   and 
while  accentuating  the  mental  variation  in  pass-    _. 
ing  from  one  idea  to   another  directly  associate 
this  with  extreme  variation  in  pitch. 

THOUGHT. 

Thought  is  deeper  than  all  speech. 

Feeling  deeper  than  all  thought; 
Souls  to  souls  can  never  teach 

What  unto  themselves  was  taught. 

We  are  spirits  clad  in  veils; 

Man  by  man  was  never  seen; 
All  our  deep  communing  fails 

To  remove  the  shadowy  screen. 

Heart  to  heart  was  never  known; 

Mind  with  mind  did  never  meet; 
We  are  columns  left  alone 

Of  a  temple  once  complete. 

Like  the  stars  that  gem  the  sky. 

Far  apart  though  seeming  near, 
In  our  light  we  scattered  lie ; 

All  is  thus  but  starlight  here.  .... 

C.   I'.   CRANCH. 

The  passage  may  be  read  making  changes  of  pitch  in 
directly  opposite  directions  with  equal  naturalness. 
Such  an  exercise  awakens  in  the  student  a  sense  of 
freedom  and  is  one  of  the  most  important  means  of 


46  FOUITDATIONS   OF    EXPRESSION 

developing  the  spontaneous  activities  of  the  mind  in 
union  with  the  deliberative. 

This  exercise  is  also  important  in  developing  flexi- 
bility of  the  voice.  If  the  student  greatly  exaggerates 
changes  of  pitch,  he  will  note  that  the  more  he  dis- 
criminates ideas,  the  more  natural  his  delivery  becomes. 

Read  the  following,  putting  each  clause  as  far  apart  in 
pitch  from  the  preceding  as  possible,  and  note  that     „« 
this  increases  rather  than  decreases  naturalness. 

Merrily  swinging  on  brier  and  weed, 

Near  to  the  nest  of  his  little  dame, 
Over  the  mountain-side  or  mead, 

Robert  of  Lincoln  is  telling  his  name. 

BRYANT 
Wilt  thou  not  ope  thy  heart  to  know 
What  rainbows  teach,  and  sunsets  show! 
Verdict  which  accumulates 
From  lengthened  scroll  of  human  fates, 
Voice  of  earth  to  earth  returned. 
Prayers  of  heart  that  inly  burned,  — 
Saying,  "  What  is  excellent, 
As  God  lives,  is  permanent; 
Hearts  are  dust,  hearts'  loves  remain, 
Heart's  love  will  meet  thee  again." 
Revere  the  Maker ;  fetch  thine  eye 
Up  to  His  style,  and  manners  of  the  sky. 
Not  of  adamant  and  gold 
Built  He  heaven  stark  and  cold ; 
No,  but  a  nest  of  bending  reeds, 
Flowering  grass  and  scented  weeds; 
Or  like  a  traveller's  fleeting  tent. 
Or  bow  above  the  tempest  bent; 
Built  of  tears  and  sacred  flames. 
And  virtue  reaching  to  its  aims ; 
Built  of  furtherance  and  pursuing. 
Not  of  spent  deeds,  but  of  doing. 
Silent  rushes  the  swift  Lord 
Through  ruined  systems  still  restored, 
Broad-sowing,  bleak  and  void  to  bless, 
Plants  with  worlds  the  wUderness; 
Waters  with  tears  of  ancient  sorrow 
Apples  of  Eden  ripe  to-morrow. 
House  and  tenant  go  to  ground. 
Lost  in  Godj  in  Godhead  found, 

Fh)in  "  Threnody."  EMERSON. 


DISCRIMINATION   AND    INTERVALS  4^ 

Sing  loud,  O  bird  in  the  trees ! 

0  bird,  sing  loud  in  the  sky  I 

And  honey-bees,  blacken  the  clover  seas  I 
There  are  none  of  you  glad  as  I. 

'In  BloMom  Time,"  p.  74. 

Blessings  on  thee,  little  man. 
Barefoot  boy,  with  cheek  of  tan  I 
With  thy  turned-up  pantaloons, 
And  thy  merry  whistled  tunes ; 
With  thy  red  lip,  redder  still 
Kissed  by  strawberries  on  the  hill; 
With  the  sunshine  on  thy  face. 
Through  thy  torn  brim's  jaunty  grace. 
From  my  heart  I  give  thee  joy ; 

1  was  once  a  barefoot  boy  1 

WHITTIER. 

Should  the  student  render  some  sentence  or  passage 
in  verse  or  prose  first  abstractly,  and  then  with     .. 
intense  attention  to  the  successive  ideas,  he  will 
become  conscious  of  what  is  meant  by  variation  of  pitch. 

Over  our  manhood  bend  the  skies; 

Against  our  fallen  and  traitor  lives 
The  great  winds  utter  prophecies; 

With  our  faint  hearts  the  mountain  strives, 
Its  arms  outstretched,  the  druid  wood 

Waits  with  its  benedicite. 
And  to  our  age's  drowsy  blood 

Still  shouts  the  inspiring  sea. 

"VIsionof  Sir  Launfal."  JAMES   RUSSELL  LOWELL. 

The  tree's  leafy  buds  were  biu-sting  their  brown. 

•'  Shall  I  take  them  away?  "  said  the  frost,  sweeping  down. 

"  No;  leave  them  alone 

Till  the  blossoms  have  grown," 
Prayed  the  tree,  while  he  trembled  from  rootlet  to  crown. 

The  tree  bore  his  blossoms,  and  all  the  birds  sung. 
"Shall  I  take  them  away?  "  said  the  wind  as  he  swung. 

"  No ;  leave  them  alone 

Till  the  berries  have  grown," 
Said  the  tree,  while  his  leaflets  quivering  hung. 

The  tree  bore  his  fruit  in  the  midsummer  glow. 
Said  the  child,  "  May  I  gather  the  berries  now?  " 

"  Yes:  all  thou  canst  see. 

Take  them ;  all  are  for  thee,'' 
Said  the  tree,  while  be.  bent  down  his  laden  boughs  low. 

B  uj5rnson. 


48  FOUNDATIONS   OF   EXPRESSION 

Observe  in  the  reading  of  some  lyric  that  in  order 
to  suggest  its  animation  and  spirit  each  idea  must  be 
vividly  conceived  and  carefully  discriminated.  The  pitch 
of  each  successive  phrase  can  be  changed  to  an  astonish- 
ing degree  without  interfering  with  the  natural-  „ - 
ness,  so  long  as  thinking  is  specific  and  animated 
and  the  change  of  pitch  is  the  direct  expression  of  a 
corresponding  change  in  the  mental  pictures.  The  feel- 
ing also  can  be  made  more  intense  and  the  whole  expres- 
sion of  the  poem  more  adequate  and  forcible. 

THE  HOUSE   OF  THE  TREES. 

Ope  your  doors  and  take  me  in,  spirit  of  the  wood ! 
Wash  me  clean  of  dust  and  din,  clothe  me  in  your  mood. 
Take  me  from  the  noisy  light  to  the  sunless  peace. 
Where  at  midday  standeth  Night  singing  Toil's  release. 
All  your  dusky  twilight  stores  to  my  senses  give ; 
Take  me  in  and  lock  the  doors,  show  me  how  to  live 
Lift  your  leafy  roof  for  me,  part  your  yielding  walls: 
Let  me  wander  lingeringly  through  your  scented  halls. 
Ope  your  doors  and  take  me  in,  spirit  of  the  wood ! 
Take  me  —  make  me  next  of  kin  to  your  leafy  brood. 

ETHELWYN   WETHERALD. 

Describe    some    scene,    expressing    sympathetically 
each  centre  of  attention  and  making  sure  that     __ 
each  phrase  is  not  only  given  with  unity  and 
decided  touch,  but  with  extreme  variation  of  pitch  from 
the  preceding. 

An  Interval  or  Change  of  Pitch  is  caused  by  the 
discrimination  or  variation  in  the  impression  as  the 
mind  passes  from  one  centre  of  attention  to  another. 
Intervals,  or  changes  of  pitch,  cannot  be  regulated  by 
rule.  Their  direction  and  extent  must  be  more  or  less 
the  spontaneous  expression  of  the  free,  varied  move- 
ment of  the  mind,  which  will  chiefly  result  from  the 
degree  of  concentration. 


IV. 

ATTITUDE   OF  MIND  AND  INFLEXION. 

If  we  observe  the  many  ways  in  which  men  utter 
such  simple  words  as  "  yes,"  "  no,"  "  well,"  or  "  why," 
we  shall  find  that  while  the  pronunciation  may  be  the 
same,  the  meaning  conveyed  differs  nearly  always 
because  of  a  peculiar  modulation  of  the  voice.  This 
modulation  is  a  change  of  pitch  during  the  emission  of 
a  central  vowel,  and  is  called  inflexion. 

Almost  any  sentence  may  be  so  uttered  as  to  imply 
question,  doubt,  or  negation,  on  the  one  hand,  or,  on 
the  other,  affirmation  or  confidence,  by  simply  varying 
the  inflexion. 

Inflexion  is  the  primary  characteristic  of  all  natural 
speech.  It  is  not  found  in  song.  When  a  person  is 
said  to  speak  unnaturally,  the  trouble  is  with  his  in- 
flexions as  a  rule.  They  are  the  last  elements  of  speech 
to  be  mastered  by  a  foreigner. 

In  these  lines  Shakespeare  is  supposed  to  be  speak- 
ing at  the  Mermaid  Inn  at  dinner.     The  spirit  of  the 
poem  is  familiar  but  intense.     The  attitude  of  the       . 
speaker's  mind  can  be  easily  realized  in  every 
phrase,  and  emphasized  or  expressed  by  variations  of 
the  inflexions. 

Have  you  found  your  life  distasteful?     My  life  did  and  does  smack 

sweet. 
Was  your  youth  of  pleasure  wasteful?    Mine  I  saved  and  hold 

complete. 
Do  your  joys  with  age  diminish?     When  mine  fail  me,  I'll  complain. 
Must  in  death  your  daylight  finish?     My  sun  seti  to  rise  again.  .  .  . 
I  find  earth  not  gray,  but  rosy,  heaven  not  grim  but  fair  of  hue. 
Do  I  stoop?    I  pluck  a  posy.     Do  I  stand  and  stare?    All's  blue. 

"  At  the  N'-rmairt."  BROWNINO 

(ShakMpeare  °upposjd  to  he  i peaking.) 

49 


5©  FOUNDATIONS   OF   EXPRESSION 

Why  does  "Clang"  have  no  inflexion,  while     .^ 
every  other  word  has  a  definite  rise  or  fall  ? 

Clang,  clang,  the  massive  anvils  ring, 
Clang,  clang,  a  hundred  hammers  swing. 

The  importance  of  inflexions  has  long  been  recog- 
nized, but  unfortunately,  mechanical  and  artificial 
rules  have  been  laid  down  for  their  use. 

The  student  must  carefully  study  the  action  of  his 
own  mind  in  conversation,  and  train  his  ear  to  recog- 
nize the  subtlest  modulation  of  his  inflexions,  until  he 
realizes  their  importance  and  also  their  right  use.  He 
must  perceive  also  the  great  help  of  inflexions  as  a 
means  of  clearly  expressing  his  thought. 

We  have  four  leading  modulations  of  inflexion. 
They  may  be  rising  or  falling.  That  is,  they  may  a  ary 
in  direction.  Either  of  these  may  be  long  or  short. 
They  may  also  be  gradual  or  very  abrupt,  and  lastly 
simple  or  compound,  that  is,  circumflex. 

I.  Direction  of  Inflexion.  The  primary  nature 
of  inflexion  is  a  rising  or  falling  variation  of  pitch  in 
the  central  vowel  of  a  word. 

A  rising  inflexion  expresses  doubt  or  question,  a  seek- 
ing or  negative  attitude  of  the  mind,  formality,  triviality, 
an  appeal  to  the  will  or  knowledge  of  the  hearer. 
The  mind  is  looking  forward,  the  thought  subordinated 
to  something  that  is  coming,  or  incomplete  in  itself. 

The  falling  inflexion,  on  the  contrary,  indicates  con- 
viction, certainty,  and  positive  evidence  of  the  truth. 
It  asserts  the  speaker's  own  view  or  will:  it  implies 
genuineness,  directness,  and  earnestness. 

"  I  must  have  left  my  book  here,"  —  may  be  spoken 
with  a  rising  inflexion,  this  indicates  doubt.  But  if 
one  is  certain,  he  speaks  the  same  words  positively, 
with  falling  inflexion. 

"  Good-morning,"  with  a  rising   inflexion,  is  merely 


ATTITUDE   OF   MIND   AND    INFLEXION  51 

formal,  and  may  not  be  genuine ;  but  if  I  meet  someone 
I  do  not  expect  I  give  a  falling  inflexion.  This  indi- 
cates genuineness  or  surprise. 

A  beggar  may  say  —  "  Give  me  five  cents,"  —  as  a 
timid,  shrinking  request,  with  a  rising  inflexion.  But 
the  owner  of  a  shop  would  ask  for  it  as  a  demand  with 
definite  falling  inflexion.  Trivial  or  trite  ideas  are 
given  with  a  short  rise:  but  words  spoken  with  great 
earnestness  receive  a  falling  inflexion. 

Rising   inflexions    and    falling    inflexions  are    con- 
tinually opposed  in  conversation.     It  is  at  times  of  little 
consequence  whether   an  inflexion  be   rising  or    „g 
falUng,   but   a    mere  suspensive    action,  or   the 
absence    of  rise   or  fall,   expresses    weakness,   doubt, 
or  lack  of  thought. 

Read  the  following,  using  a  definite  rise  or  fall  with 
each  centre  of  attention,  and  bring  these  into  co- 
operation. Follow  no  artificial  rules  as  to  the  kind  of 
inflexion  to  be  given  to  any  word,  but  take  a  definite 
attitude  of  mind  toward  each  successive  idea. 

WINGS. 

Shall  we  know  in  the  hereafter 

All  the  reasons  that  are  hid? 
Does  the  butterfly  remember 

What  the  caterpillar  did? 
How  he  waited,  toiled,  and  suffered 

To  become  a  chrysalid? 

When  we  creep  so  slowly  upward ; 

When  each  day  new  burden  brings ; 
When  we  strive  so  hard  to  conquer 

Vexing  sublunary  things; 
When  we  wait  and  toil  and  suffer, 

We  are  working  for  our  wings. 

DANSKE  CAROLINA   DANDRIDGE. 

Death  is  a  dialogue  between  the  spirit  and  the  dust; 
**  Dissolve,"  says  Death.     The  spirit,  "  Sir,  I  have  another  trust." 

Death  doubts  it,  argues  from  the  ground ;  the  spirit  turns  away. 

Just  laying  off,  for  evidence,  an  overcoat  of  clay. 
A  Dialogue.  EMILY  DICKINSON 


52  FOUNDATIONS   OF   EXPRESSION 

My  home  was  a  dungeon,  —  how  could  that  be. 
When  loftiest  ceilings  rose  stately  and  free? 
Love  roamed  in  the  forest  or  sat  by  the  sea, 
And  through  the  long  hours  was  nothing  to  me. 

My  home  is  a  palace,  —  how  can  that  be, 
When  through  the  rude  rafters  the  stars  I  can  see? 
Love  knocked  at  my  window  and  bade  me  be  free. 
I  followed  him  gladly  to  share  this  with  thee. 

"  Then  and  Now,'"  Kindergarten  Review.  RENA   H     INGHAM- 

THE   BATTLE-FIELD. 

They  dropped  like  flakes,  they  dropped  like  stars, 

Like  petals  from  a  rose, 
Then  suddenly  across  the  June 

A  wind  with  fingers  goes. 

They  perished  in  the  seamless  grass,  — 

No  eye  could  find  the  place ; 
But  God  on  his  repealless  list 

Can  summon  every  face. 

EMILY  DICKINSON. 

2.  Length  of  Inflexion.  Rising  or  falling  inflexions 
may  vary  greatly  in  length.  The  length  of  an  inflexion 
is  in  proportion  to  the  clearness,  positiveness,  or  vigor 
of  the  thought  or  emotion. 

A  long,  decided  inflexion  is  characteristic  of  mental 
power,  of  genuineness  and  earnestness.  Length  of 
inflexion  is  something  to  be  cultivated.  A  universal 
tendency  is  to  increase  volume  rather  than  range  of 
voice.  The  development  of  the  power  to  emphasize  by 
long  inflexions  and  range  is  one  of  the  first  and  most 
important  steps  to  be  taken  in  developing  good  delivery. 

Render  a  passage  first  listlessly,  then  with  great  seri- 
ousness   and   earnestness,    noticing    meanwhile    og 
that    the    chief   way  of  expressing   increase    of 
earnestness   is   by    the  lengthening  of  the  inflexions. 

We  live  in  deeds,  not  years;  in  thoughts,  not  breaths; 
In  feelings,  not  in  figures  on  a  dial. 
We  should  count  time  by  heart-throbs.     He  most  lives 
Who  thinks  most,  feels  the  noblest,  acts  the  best. 
"Festus."  BAILSVc 


ATTITUDE   OF   MIND   AND   INFLEXION  53 

Why  do   the  quoted  words  of  the    following    -^ 
have  longer  inflexions  ? 

"  Who  dares  "  —  this  was  the  patriot's  cry, 
As  striding  from  the  desk  he  came  — 
"  Come  out  with  me,  in  Freedom's  name, 
For  her  to  live,  for  her  to  die  !  " 
A  hundred  hands  flung  up  reply, 
A  hundred  voices  answered,  "  I." 

••  Rising  cf  t776."  T.   B.   READ. 

Practise  a  variety  of  passages  with  different  degrees 
of  earnestness,  intensity,  or   dignity:   and  con-     .^ 
trast   a  lack  of  interest  with    a  sense  of  great 
weight. 

The  crimsoned  pavement  where  the  hero  bleeds, 
Breathes  nobler  lessons  than  the  poet's  lay. 

HOLMES 

When  a  man  lives  with  God,  his  voice  shall  be  as  sweet  as 
the  murmur  of  the  brook  and  the  rustle  of  the  corn. 

EMERSON, 

The  real  world  is  not  the  world  of  things. 

When  Sir  Harry  Vane  was  dragged  up  the  Tower-hill,  sitting 
on  a  sled,  to  suffer  death  as  the  champion  of  the  English  laws, 
one  of  the  multitude  cried  out  to  him,  "  You  never  sat  on  so 
glorious  a  seat."  Charles  II,,  to  intimidate  the  citizens  of  London, 
caused  the  patriot  Lord  Russell  to  be  drawn  in  an  open  coach 
through  the  principal  streets  of  the  city,  on  his  way  to  the  scaf- 
fold. •'  But,"  to  use  the  simple  narrative  of  his  biographer, 
"the  multitude  imagined  they  saw  liberty  and  virtue  sitting 
by  his  side." 

EMERSON. 
THE  SEMINOLE'S  REPLY. 

Blaze,  with  your  serried  columns  I     I  will  not  bend  the  knee  I 

The  shackles  ne'er  again  shall  bind  the  arm  which  now  is  free. 
I've  mail'd  it  with  the  thunder,  when  the  tempest  mutter'd  low; 

And,  where  it  falls,  ye  well  may  dread  the  lightning  of  its  blow  I 
Ye've  trail 'd  me  through  the  forest,  ye've  track'd  me  o'er  the  stream; 

And,  struggling  through  the  everglade,  your  bristling  bayonets 

gleam; - 

But  I  stand  as  should  the  warrior,  and  I'll  fight  ye  till  I  die  I 

I  scorn  your  proffered  treaty  1     The  pale-face  I  defy ! 
I  ne'er  will  ask  ye  quarter,  and  I  ne'er  will  be  your  slave; 

But  I'll  swim  the  sea  of  slaughter,  till  I  sink  beneath  its  wave  1 

J}£ORG£  W.  PATTfiN 


54  FOUNDATIONS   OF   EXPRESSIOW 

I  live  for  those  who  love  me,  — 

For  those  who  know  me  true ; 
For  the  heaven  that  smiles  above  me, 

And  awaits  my  spirit,  too ; 
For  the  cause  that  lacks  assistance. 
For  the  wrong  that  needs  resistance, 
For  the  future  in  the  distance, 

And  the  good  that  I  can  do. 

BANKS. 

Speak  a  sentence    to    one   person   and   then   as    if 
to  a  thousand:    or   first    colloquially,  and  then     ._ 
with  great  earnestness,  and  note  that  increased 
earnestness  lengthens  the  inflexions. 

Blessed  is  the  man  who  has  found  his  work;  let  him  ask  no 
other  blessedness. 

CARLYLE. 

Read  one  of  the  following  passages,  not  only  clearly 
thinking  each  idea,  but  taking  a  definite  attitude  of 
mind,  and  expressing  this  by  a  positive  rising  .„ 
or  falling  inflexion.  Give  a  phrase  with  a 
decided  touch  and  a  rising  inflexion,  definitely  awak- 
ening the  hearer's  anticipation,  and  follow  this 
with  a  decided  falling  inflexion.  Express  each  idea 
with  such  a  clear  attitude  of  mind  that  the  minds  of 
the  auditors  will  share  in  the  thinking  of  the  speaker. 

A  fairy,  by  some  mysterious  law  of  her  nature,  was  condemned 
to  appear  at  certain  seasons  in  the  form  of  a  foul  and  poisonous 
snake.  Those  who  injured  her  during  the  period  of  her  dis- 
guise were  forever  excluded  from  participation  in  the  blessings 
which  she  bestowed.  But  to  those  who,  in  spite  of  her  loath- 
some aspect,  pitied  and  protected  her,  she  afterward  revealed 
herself  in  the  beautiful  and  celestial  form  which  was  natural 
to  her,  accompanied  their  steps,  granted  all  their  wishes,  filled 
their  houses  with  wealth,  made  them  happy  in  love  and  vic- 
torious in  war. 

Such  a  spirit  is  Liberty.  At  times  she  takes  the  form  of  a 
hateful  reptile.  She  grovels,  she  hisses,  she  stings.  But  woe 
to  those  who,  in  disgust,  shall  venture  to  crush  her!  And 
happy  are  those  who,  having  dared  to  receive  her  in  her  degraded 
and  frightful  shape,  shall  at  length  be  rewarded  by  her  in  the 
time  of  her  beauty  and  her  glory. 

MACAULAY. 


ATTITUDE   OF   MIND   AND   mFLEXIOW  55 

Speak  colloquially  and  listlessly  upon  some  subject 
and  then  give  this  or  some  other  subject  with    .. 
such  intense    earnestness    as    to    dominate    the 
attention  of  an  audience. 

Give   a   speech   as   in   common    conversation    with 
one    person.     Then    so    give    the    same  as   to     ._ 
dominate  the  attention  of  a  thousand  men. 

3.  Abruptness  of  Inflexion.  Less  noticeable  than 
direction  and  length  of  inflexion,  but  hardly  less  im- 
portant, is  the  fact  that  inflexion  may  change  the 
length  of  sound-waves  very  slowly  or  very  quickly. 

Inflexions  are  gradual  in  the  expression  of  delibera- 
tion, reverence,  calmness.  They  are  abrupt  in  com- 
mand, in  great  excitement,  in  intense  domination  of 
one  mind  over  another,  and  in  antagonism. 

Abruptness  of  inflexion  must  not  be  confused  with 
length.    Notice,   for  example,   the   difference   between 
Hamlet's     inflexions     when     speaking     to     his     .« 
friends    and  to  the    ghost.     The    inflexions    are 
long  in  each  case,  but  very  different  in  their  degree  of 
abruptness. 

Hamlet.     Unhand  me,  gentlemen  I 

By  heaven,  I'll  make  a  ghost  of  him  that  lets  me! 
I  say  away !  —  Go  on ;  I  '11  follow  thee ! 

"Hamlet."  SHAKESPEARE. 

Degrees  of  excitement,  control,  domination,  or  brusk- 
ness,  cause  the  inflexional  modulations  to  be  more    .„ 
or  less  abrupt. 


Kentish  Sir  Byng  stood  for  his  King, 

Bidding  the  crop-headed  Parliament  swing; 

And,  pressing  a  troop  unable  to  stoop 

And  see  the  rogues  flourish  and  honest  folk  droop. 

Marching  along,  fifty-score  strong. 

Great-hearted  gentlemen,  singing  this  song. 

^  Marching  Along."  BROWNING. 


^6  FOUNDATIONS    OF    EXPRESSION 

Give  the  following  line  with  entreaty  or  great  excite- 
ment, as  if  in  the  presence  of  danger,  and  then     .g 
with    the    antagonistic    domination    which    be- 
longs to  it  in  the  first  scene  of  Julius  Caesar,  and  note 
the  efifect  on  the  inflexions. 

Run  to  your  houses,  fall  upon  your  knees. 

"Julius  Casar."  SHAKESPEARE. 

Speak  with   deliberation,  and  then  with  controlled 
excitement,  great  intensity,  or  with  domination  of 
the  attention  of  another. 

4.  Complex  Modulations  of  Inflexion.  Inflexions 
may  be  straight,  or  circumflex,  that  is,  a  rising  or  falling 
of  the  voice  may  be  mixed  in  the  same  inflexion.  In 
this  case  the  last  part  of  the  inflexion  is  usually  governed 
by  the  same  law  as  direction  of  inflexion,  but  the  various 
turns  express  an  additional  element.  Inflexions  are 
straight  in  proportion  to  the  dignity,  frankness,  and  ear- 
nestness of  the  thought,  and  in  the  expression  of  sim- 
plicity, truthfulness,  sympathy,  and  tenderness.  They 
are  crooked  in  proportion  to  the  colloquial  familiarity, 
mischief,  sarcasm,  lack  of  directness  in  the  thought, 
double  meaning,  as  a  joke  or  lack  of  seriousness. 

Circumflexes  are  common  in  everyday  life,  but  usually 
indicate  abnormal  mental  attitudes,  lack  of  dignity  in 
character,  or  are  merely  colloquial  without  earnestness. 
Inflexion  should  be  as  straight  and  direct  as  possible. 
Crooked  inflexions  imply  undignified  conditions,  lack  of 
sincerity,  playful,  sarcastic,  or  negative  attitudes  of  mind 
towards  truth  and  towards  persons.  They  are  some- 
times necessary,  but  should  be  rare  in  dignified  discourse. 
Careless,  circumflex  inflexions  detract  from  any  speaker's 
force  except  in  rare  instances. 

Only  a  little  observation  is  needed  to  show  the  char- 
acter of  circumflex  inflexions.    Note  in  any  play    -^ 
of    Shakespeare    that    the    more    dignified    the 
character,  the  straighter  and  the  longer  the  inflexions 


ATTITUDE    OF    MIND    AND    INFLEXION 


51 


necessary  to  portray  it.  The  crooked  inflexions  of  the 
joking  workman  in  the  opening  scene  of  Julius  Caesar 
are  in  sharp  contrast  to  the  long,  abrupt,  straight  in- 
flexions of  Marullus  and  Flavius.  How  different  are 
Falstaff's  inflexions  from  those  of  Prince  Henry !  How 
much  more  angular  and  abrupt  the  inflexions  of  Cassius 
than  those  of  Brutus ! 

Falslaff.    God  save  thy  grace,  King  Hall  my  royal  Hal! 

Pistol.   The  heavens  thee  guard  and  keep,  most  royal  imp 
of  fame  1 

Falslaff.   God  save  thee,  my  sweet  boy  I 

King.    My  Lord  Chief  Justice,  speak  to  that  vain  man. 

Chief  Justice.    Have  you  your  wits?     Know  you  what  'tis 
you  speak? 

Falstaff.   My  king!  my  Jove!  I  speak  to  thee,  my  heart! 

King.    I  know  thee  not,  old  man.     Fall  to  thy  prayers. 

From  "Henry  IV,"  SHAKESPEARE. 

Falstaff.  I  call  thee  coward  1  I'll  see  thee  hanged  ere  I  call 
thee  coward ;  but  I  would  give  a  thousand  pound  I  could  run  as 
fast  as  thou  canst.  You  are  straight  enough  in  the  shoulders; 
you  care  not  who  sees  your  back.  Call  you  that  backing  of 
your  friends?     A  plague  upon  such  backing ! 

"Henry  IV."  SHAKESPEARE. 

5.  Freedom  of  Inflexion.  While  all  these  modu- 
lations of  inflexion  should  be  distinguished  from  each 
other,  the  length,  the  abruptness,  and  even  the  compound 
or  circumflex  modifications,  are  continually  varying. 
While  every  little  turn  is  distinct  in  meaning  yet  it  is  the 
constant  variations  and  combinations  that  make  inflex- 
ions so  expressive.  The  innumerable  changes  of  inflex- 
ions and  their  relations  to  each  other  should  be  studied 
with  great  care. 

Render  short  poems  and  become  conscious  of  at 
least  some  of  the  leading  variations  of  inflexion  and 
their  function.  Then  give  one  of  the  following  _. 
with  all  the  freedom  and  variety  of  conversation. 
Can  you  indicate  at  some  one  point  the  inflexional 
changes,  and  some  differences  between  the  second  and 
the  third  passages  ? 


5S  FOUNDATIONS   OF   EXPRESSION 

Follow  Light,  and  do  the  Right —  for  man  can 

half  control  his  doom  — 
Till  you  find  the  deathless  Angel  seated 

in  the  vacant  tomb. 

"  Locksley  Hall  Sixty  Years  After,"  TENNYSON 

Now,  by  my  faith  as  belted  knight,  and  by  the  name  I  bear, 

And  by  the  bright  Saint  Andrew's  cross,  that  waves  above  us  there  .  .  . 

I  have  not  sought  in  battle-field  a  wreath  of  such  renown, 

Nor  dared  I  hope  on  my  dying  day  to  win  the  martyr's  crown!  .  .  . 

For  truth  and  right  'gainst  treason's  might,  this  hand  hath  always 

striven. 
And  ye  raise  it  up  for  a  witness  still  in  the  eye  of  earth  and  heaven. 
Then  nail  my  head  on  yonder  tower,  give  every  town  a  limb. 
And  God  who  made  shall  gather  them:  I  go  from  you  to  Him! 

AYTOUN 

ESQUIRE  NIMBLE  FROG'S  MISTAKE. 

Esquire  Nimble  Frog  sat  on  a  big  log, 

Just  as  happy  as  he  could  be ; 
Near  by  sat  Dame  Frog  —  the  Queen  of  the  Bog, 

And  she  was  happy  as  he. 
While  all  in  a  row,  away  down  below, 

Swam  three  tiny  young  tadpoles  three. 
Now  hither,  now  fro,  fast  as  they  could  go. 

And  they  were  as  happy  as  she. 
Nimble  Frog,  so  wise,  was  looking  for  flies, 

But  a  sleepy  old  frog  was  he. 

And  his  half-closed  eyes  caused  him  a  surprise, 

For  he  swallowed  a  bumble-bee. 
Esquire  Frog  leaped  down  from  his  log. 

Just  as  sorry  as  he  could  be. 
And  his  wife  Dame  Frog,  followed  him  kerchog, 

And  she  was  as  sorry  as  he, 
While  each  little  tad  felt  ever  so  sad. 

And  was  just  as  sorry  as  she ; 
Nor  was  the  bee  glad ;  she  felt  quite  as  bad 

As  the  frogs  and  the  tadpoles  three. 

WARNER   WILLIS  FRIES. 

In  Browning*s  "  Memorabilia  "  notice  the  intense  ris- 
ing inflexions  showing  the  fervid  expectancy  on  meeting 
a    man  who    has    seen   Shelley,  and    to  whom    _„ 
the   speaker  has  just  been  introduced.     At  the 
fourth  line  the  speaker  expresses  his  pleasure;  but  at 


ATTITUDE   OF  MIND   AOT)   INFLEXION  59 

the  seventh  line  he  is  interrupted  by  a  sneer  or  laugh 
from  the  other.  This  causes  a  long  pause  and  a  change 
in  pitch,  and  inflexions  which  become  gradual,  and 
more  expressive  of  the  disappointment  of  the  speaker, 
"  My  starting  moves  your  laughter." 

MEMORABILIA. 

Ah,  did  you  once  see  Shelley  plain, 

And  did  he  stop  and  speak  to  you, 
And  did  you  speak  to  him  again? 

How  strange  it  seems,  and  new  I 

But  you  were  living  before  that, 

And  also  you  are  living  after ; 
And  the  memory  I  started  at  — 

My  starting  moves  your  laughter  I 

I  crossed  a  moor,  with  a  name  of  its  own 
And  a  certain  use  in  the  world,  no  doubt, 

Yet  a  hand's-breadth  of  it  shines  alone 
'Mid  the  blank  miles  round  about; 

For  there  I  picked  up  on  the  heather 

And  there  I  put  inside  my  breast 
A  moulted  feather,  an  eagle-feather  I 

Well,  I  forget  the  rest. 

BROWNING. 

Browning  or  the  speaker  seems  to  turn  away  from  this 
person  who  has  seen  Shelley,  and  who  has  sneered  at  his 
enthusiasm.  He  deals  in  a  figure,  calling  English  liter- 
ature, or  poetry,  a  moor  which  he  has  crossed,  "  a  moor 
with  a  name  of  its  own  "  and  important ;  yet  with  more 
intensity  he  emphasizes  the  "  hand's-breadth  "  which 
stands  out  in  his  memory,  while  "  the  rest "  is  blank,  for 
there  he  picked  up  a  feather,  an  allusion  of  course,  to 
Shelley's  poetry.  Note  the  strong  emphasis  on  "  feather  " 
and  the  still  stronger  on  "  eagle." 

The  long  falling  inflexion  expresses  his  own  tribute  and 
rebukes  in  a  very  poetic  and  suggestive  way  the  flippancy 
of  his  interlocutor.  What  does  the  last  line  mean? 
Does  it  mean,  that  in  the  intensity  of  his  realization  of 


6o  FOUNDATIONS   OF   EXPRESSION 

Shelley's  poetry,  he  forgets  the  rest  of  the  moor,  or 
English  literature  ?  Browning,  when  twelve  years  old, 
chanced  upon  a  volume  of  Shelley's  poetry,  and  it  had 
a  great  influence  on  his  life.  In  the  intensity  of  the 
delight  was  all  other  poetry  forgotten,  or  is  the  speaker 
so  chilled  by  another  sneer  that  he  cuts  off  the  rest  he 
meant  to  say  ? 

Render  the  following  sentence  as  a  quibble  or  joke, 
and  then  in  contrast  give  it  great  seriousness,    >„ 
earnestness,  or  sincerity,  and  note  the  effect  upon 
inflexions. 

All  things  I  thought  I  knew;  but  now  confess 
The  more  I  know  I  know,  I  know  the  less. 

Works,  Bk.  VI.  J.  OWEN. 

Render  some   idea   in  your  own  words,  flrst   as  a 
quibble  or  sarcastic  remark;  then  give  it  with    _. 
sympathy  and  earnestness  of  conviction. 

Inflexion  is  a  bend  of  the  voice  upward  or  downward : 
it  is  a  change  in  the  length  of  the  sound  waves  during 
the  emission  of  tone. 

Direction  of  Inflexion  is  caused  by  the  speaker's 
attitude  of  mind,  his  realization  of  the  relation  of  the 
idea  to  other  ideas,  his  purpose  or  degree  of  certainty. 

The  Length  of  an  Inflexion  is  due  to  the  degree 
of  earnestness  that  prompts  it. 

Abruptness  is  due  to  the  sway  of  passion,  the  degree  of 
excitement,  the  force  of  control,  or  the  domination  of  one 
mind  or  will  over  another. 

Inflexions  are  straight  in  proportion  to  the  direct- 
ness, frankness,  dignity,  or  weight  of  the  speaker.  They 
are  circumflex,  or  crooked,  in  proportion  to  the  lack  of 
sincerity,  the  mischief,  the  sarcasm,  the  double  meaning, 
or  the  quibbling  attitude  of  the  mind. 


V. 

RESPONSE   OF  THE   ORGANISM. 

Natural  expression  through  body  or  voice  is  a  direct 
response  of  man's  organism  to  the  activity  of  his  being. 

We  may  distinguish  two  classes  of  responses  to 
thinking  or  feeling.  The  first  includes  the  expressive 
modulations,  which  may  be  illustrated  by  a  nod  of  the 
head,  a  denial  or  rejection  by  the  hand,  a  pause  or  in- 
flexion by  the  voice.  The  second  comprises  conditions 
favorable  to  expressive  modulations  and  may  be  illus- 
trated by  the  retention  of  breath  or  the  opening  of  the 
tone  passage  during  reading  or  speaking,  the  expan- 
sion of  the  body  in  excitement,  or  the  softening  of  the 
texture  of  the  muscles  by  feeling. 

The  modulations  are  more  conscious  and  delibera- 
tive and  are  often,  perhaps  always,  in  part  under  the 
control  of  will.  They  are  more  directly  linguistic  and 
may  be  consciously  used  as  a  supplement  to  words. 

The  second  responses  are  normal  conditions  favorable 
to  expression  and  may  in  general  be  termed  conditional 
responses.  They  are  less  conscious,  often  involuntary 
and  spontaneous. 

The  modulations  are  analogous  to  playing  upon  a 
piano:  the  conditions  to  the  tuning  of  the  instrument. 
In  the  first  the  actions  are  a  direct  means  of  expression, 
each  modulation  having  a  distinct  function ;  the  respon- 
sive conditions  are  necessary  to  the  modulations. 

In  relation  to  the  voice  the  first  may  be  named  Vocal 
Expression,  the  second,  Vocal  Training.  To  improve 
expression,  both  conditional  and  linguistic  responsive- 
ness must  be  developed. 

6i 


62  FOUNDATIONS    OF    EXPRESSION 

The  conditions  of  man's  body  often  become  fixed 
through  habit.  They  do  not  respond  immediately  to 
thinking  and  feeling  unless  the  organism  is  perfectly 
normal  and  has  not  been  constricted  by  neglect  or 
abnormal  use.  Vocal  training  is  the  establishment  of 
such  normal  conditions  of  body  and  voice  that  the 
response  to  thinking  and  feeling  will  be  immediate, 
natural,  and  without  interference  from  the  abnormal 
effects  of  bad  habits. 

Logically,  training  of  the  voice  and  body  should  be 
first.  The  instrument  should  be  tuned  before  we  play 
upon  it.  But  practically,  it  is  necessary  first  to  study 
vocal  expression.  Man's  organism  is  a  part  of  him.  He 
must  be  made  conscious  of  the  meaning  of  a  pause, 
touch,  change  of  pitch  or  inflexion  of  the  voice  in  direct 
relation  to  his  thought,  before  he  can  be  awakened  to 
a  real  conception  of  the  rigidity  or  unresponsive  con- 
dition of  his  organism.  Training  implies  a  sense  of 
form  and  the  careful  application  of  such  exercises 
as  will  remove  constrictions  and  abnormal  actions 
and  restore  every  part  of  the  organism  to  its  natural 
condition. 

Vocal  expression  and  vocal  training  are  intimately 
connected  for  the  condition  is  often  established  simul- 
taneously with  the  giving  of  the  expressive  modula- 
tion. Both  should  be  responsive  to  the  mind.  The 
voice  is  not  a  machine  to  be  adjusted  mechanically  and 
artificially.  The  term  "  voice  building  "  is  a  misnomer. 
The  voice  must  be  trained  according  to  the  laws  of 
growth  and  development  by  the  use  of  exercises. 
Mere  mechanical  exercises  either  for  the  body  or  for 
the  voice  are  of  little  use.  The  training  of  the  body  to 
be  responsive  to  the  mind  demands  psychic  exercises 
as  well  as  physical. 

Accordingly,  while  vocal  expression  may  be  care- 
fully distinguished  and  constantly  discriminated  from 


RESPONSE   OF   THE    ORGANISM  63 

70cal  training,  and  while  exercises  for  the  two  are  often 
different  they  yet  imply  each  other,  and  the  same  exer- 
cises with  a  different  mental  attitude  and  a  slightly 
different  mode  of  practice  are  necessary  in  many 
cases. 

In  the  same  exercise  the  mind  should  establish  the 
conditions  as  the  basis  of  the  modulations.  The  con- 
dition is  a  most  vital  part  of  the  expression  and  the 
student  must  observe  it. 

In  all  cases,  however,  the  exercises  for  training  need 
separate  and  long  continued  practice  to  correct  bad 
habits  and  to  establish  right  functioning. 

One  of  the  first  results  of  a  true  study  of  expression 
is  the  awakening  to  a  sense  of  the  possibilities  of  devel- 
opment. While  the  human  organism  cannot  be  built, 
it  can  be  developed.  Voice  and  body  can  be  made 
normal  and  strong,  and  by  patient  practice  of  exercises 
can  be  broup;iit  to  a  high  stage  of  perfection.  The 
student  must  become  inspired  with  the  possibilities  of 
his  nature. 

The  first  step  should  be  observation  of  the  primary 
responses  of  his  organism  to  the  actions  of  the  mind. 

In  the  following  line,  Brutus  discovers  the  ghost  of 
Julius  Caesar;  at  the  moment  of  the  discovery,  before 
his    exclamation    **  Ha,"    what    would    Brutus    __ 
naturally  do  ?    His  whole   body  would   expand 
and   become  dominated    by  emotion,  he    would    take 
breath,  and  his  mouth  and  tone  passage  would  open. 

How  ill  this  taper  burns!     Hal  who  comes  here  ? 

SHAKESPEARE. 

Possibly  the  simplest  exercise  for  establishing  these 
fundamental  conditions  of  the  voice  is  the  practice  of 
exclamations. 

Exclamations  have  been  sneered  at  as  not  being  lan- 
guage, and   if   by  language  is  meant  words   directly 


64  FOUNDATIONS   OF    EXPRESSION 

symbolizing  ideas  and  conceptions,  this  view  is  correct ; 
but  the  exclamation  for  this  reason  is  deeply  expressive. 
It  is  always  associated  with  pantomime.  It  belongs  as 
much  to  action  as  to  tone;  in  fact,  exclamation  is  a 
crude  undifferentiated  expression  of  the  activity  of 
being.  Accordingly,  the  exclamation  of  surprise  affords 
a  point  for  the  study  of  the  fundamental  nature  of 
expression. 

The  student  can  easily  see  that  these  primary  spon- 
taneous responses  to  imagination  and  feeling  establish 
conditions  of  voice. 

Render,  for  example,  Hamlet's  words  on  the  dis- 
covery of  the  ghost  of  his  father.  If  these  are  given 
coldly  there  will  be  no  expansion  of  the  body,  _^ 
increase  of  breathing  or  openness  of  the  tone 
passage,  but  with  any  genuine  imaginative  real- 
ization of  the  situation,  these  are  not  only  the  first 
responses,  but  the  most  necessary  conditions  for  the 
variation  of  the  tone  to  express  Hamlet's  feeling.  Re- 
peat the  word  "  angels "  twenty  times,  until  these 
primary  actions  simultaneously  respond  to  the  imagi- 
nation and  feelingc 

Horatio.     Look,  my  lord,  it  comes. 

Hamlet.     Angels  and  ministers  of  grace  defend  us. 

(Hamlet  discovering  his  father's  ghost).  SHAKESPEARE. 

The  character  of  the  expression  of  exclamations 
depends  upon  these  preparatory  actions  or  conditions. 
Without  such  responses  the  will  and  mind  can  never 
produce  the  right  expression.  In  proportion  as  speakers 
have  such  phlegmatic  minds  and  voices  that  these 
responses  do  not  result  from  the  imaginative  realization 
of  the  situation,  the  expression  is  always  poor. 

Accordingly,  expression  not  only  implies  intense  sus- 
ceptibility of  the  mind,  but  a  certain  plasticity  of  the 
voice  and  body.  The  imagination  and  sympathies  must 
not  only  quickly  respond  to  thinking,  but  the  expansion 


RESPONSE    OF    THE    ORGANISM  65 

of  the  body,  breathing,  and  the  opening  of  the  tone 
passage  must  respond  to  these. 

Observe  the  cold  formality  of  Hamlet's  words  in  the 
following,   when    he    thinks   he    is    answering    some 
ordinary  person  about  the  court,  and   the  great 
change  which  comes   over  his   body,  breathing, 
and  voice  when  he  turns  and  discovers  that  the  speaker 
is  Horatio. 

Express  surprise  with  this  single  word  as  an  exercise 
to  develop  the  responsiveness  of  the  organism  to  the 
mind. 

Horatio  (entering).   Hail  to  your  lordship  I 

Hamlet.  I  am  glad  to  see  you  well:  — 

Horatio,  —  or  I  do  forget  myself. 

Note  also  the  surprise  of  Marcellus  on  discovering  the 
ghost.     The   word   "  Peace  "   may  be    practised  many 
times  making  sure  that  the  action  of  the  mind 
directly    establishes    the    preparatory    conditions 
for  tone.     Be  sure  also  that  the  taking  of  breath  and 
the  opening  of  the  tone  passage  are  simultaneous. 

Marcellus.  "Peace;  break  thee  off;  look  where  it  comes  again  I" 

Such  extreme  exclamations,  full  of  fear,  may  indicate 
to  the  student  the  character  of  the  responses,  but  in 
ordinary  practice,  positive  emotions,  exclamations  full  of 
joy  and  tenderness,  should  be  the  more  emphasized  not 
only  to  prevent  any  extreme  contraction  of  the  muscles 
but  to  establish  the  sympathetic  vibrations  of  the  voice. 

Note  the  effect  of  some  sympathetic  exclamation,  such 
as  "  Hark "  from  the  following,  or  "  0 "  from  the 
second  passage,  or  other  exclamatory  word  or  _. 
phrase.  As  sympathetically  and  directly  as  pos- 
sible, without  any  mechanical  labor  or  constriction,  read 
also  passages  establishing  and  accentuating  the  taking 
of  the  breath  and  the  simultaneous  opening  of  the  tone 
passage  before  every  phrase. 


66  FOUNDATIONS  OF   EXPRESSION 

Harkl  hark! 
From  the  elm-tree's  topmost  spray, 
As  the  sun's  first  spark  o'erleaps  the  dark, 
He  sings  to  the  dawning  day. 

*"  To  th«  Robin.  '  DORA   READ   GOODALE. 

O  melancholy  waters,  softly  flow ! 

O  Stars,  shine  softly,  dropping  dewy  balm  I 
O  Moon  walk  on  in  sandals  white  as  snow  I 

O  Winds,  be  calm,  be  calm ! 
For  he  is  tired  with  wandering  to  and  fro. 

Yea,  weary  with  unrest  to  see  and  know. 
O  charmed  sound  that  hoverest  around ! 

0  voices  of  the  Night !   Sing  low !  sing  low  I  sing  low  I 

ROBERT   BUCHANAN. 

If  we  render  the  following  line  with  indifference  or 
cold  abstract  realization,  or  doubt  as  to  its  meaning  we 
shall  observe  the  lack  of  these  responses.  But 
if  we  realize  the  meaning  and  enter  into  a  sym- 
pathetic participation  or  animated  application  of  each 
idea  to  ourselves,  then  these  same  conditions  of  the  or- 
ganism are  present  and  pronounced  in  proportion  to  the 
vividness  and  realization  of  the  individual  impressions. 

Creation's  heir,  the  world,  the  world  is  mine  I 

Joy  I  Joy  1  see  Freedom  lead  her  bands 
Through  western  wilds,  o'er  desert  lands. 
By  struggles  long  and  bitter  throes 
The  desert  blossoms  as  the  rose. 

Again  in  some  animated  passage  receive  a  vivid  impres- 
sion of  each  successive  idea,  and  observe  that  any  vivid 
or  decided  impression  upon  the  mind  tends  to  _.. 
cause  these  preparatory  actions  for  speech. 
Practise  all  kinds  of  exclamations  and  exclamatory 
phrases  and  passages  with  vivid  individual  ideas,  not 
only  pausing  and  concentrating  the  mind  intensely, 
but  feeling  the  co-ordination  of  the  breath,  and  the  open- 
ing of  the  tone  passage,  and  the  expansion  of  the  body 
with  the  mental  and  emotional  actions.  Be  sure  that 
action  of  the  mind,  as  far  as  possible,  directly  causes  the 
f»ympathetic  response  of  the  body  and  the  voice. 


RESPONSE   OF   THE   ORGANISM  67 

Hark!  from  the  hills,  a  moment  mute, 
Came  a  clatter  of  hoofs  in  hot  pursuit; 
And  a  cry  from  the  foremost  trooper  said, 
"  Halt  I  or  your  blood  be  on  your  head;  " 
She  heeded  it  not,  and  not  in  vain 
She  lashed  the  horse  with  the  bridle-rein. 
So  into  the  night  the  gray  horse  strode; 
His  shoes  hewed  fire  from  the  rocky  road: 
And  the  high-born  courage  that  never  dies 
Flashed  from  his  rider's  coal-black  eyes. 
The  pebbles  flew  from  the  fearful  race; 
The  rain-drops  grasped  at  her  glowing  face. 
"  On,  on,  brave  beast  1  "  with  loud  appeal. 
Cried  eager,  resolute  Jennie  McNeal. 

JOHN    BOYLE   O'REILLY. 

Give  some  exultant  exclamation  such  as  "  Hurrah," 
or  a  phrase  such  as  "  Give  way,"  so  accentuating  the 
reception  of  each  impression  as  to  establish  ex- 
pansion of  the  body  and  primary  tone  conditions. 
Then  read  the  whole  poem  sustaining  these  conditions. 

THE   FISHERMEN. 

Hurrah  I  the  seaward  breezes 

Sweep  down  the  bay  amain; 
Heave  up,  my  lads,  the  anchor  I 

Run  up  the  sail  again  I 
Leave  to  the  lubber  landsmen 

The  rail-car  and  the  steed; 
The  stars  of  heaven  shall  guide  us, 

The  breath  of  heaven  shall  speed.  .  .  . 

Hurrah  !  for  the  Red  Island, 

With  the  white  cross  on  its  crown  I 
Hurrah !  for  Meccatina, 

And  its  mountains  bare  and  brown]  .  .  . 
Now,  brothers,  for  the  icebergs 

Of  frozen  Labrador, 
Floating  spectral  in  the  moonshine, 

Along  the  low,  black  shore  I  .  .  . 

Though  the  mist  upon  our  jackets 

Li  the  bitter  air  congeals. 
And  our  lines  wind  stiff  and  slowly 

From  off  the  frozen  reels; 
Though  the  fog  be  dark  around  us, 

And  the  storm  blow  high  and  loud, 
We  will  whistle  down  the  wild  wind, 

And  laugh  beneath  the  cloud! 


68  FOUNDATIONS    OF    EXPRESSION 

Hurrah !  hurrah  5  the  west  wind 

Comes  freshening  down  the  bay, 
The  rising  sails  are  filling,  — 

Give  way,  my  lads,  give  way !  .  . 
In  the  darkness  as  in  daylight. 

On  the  water  as  on  land, 
God's  eye  is  looking  on  us. 

And  beneath  us  is  his  hand  I  .  .  . 


WHITTIER. 


May  the  thousand  years  to  come, 

The  future  ages  wise  and  free. 
Still  see  her  flag,  and  hear  her  drum 

Across  the  world,  from  sea  to  sea! 
Still  find  a  symbol  stern  and  grand. 

Her  ancient  eagle's  wing  unshorn; 
One  eye  to  watch  the  western  land. 

And  one  to  guard  the  land  of  morn! 

BAYARD  TAYLOR. 

The  voice  or  the  body  is  normal  in  proportion  to  its 
correspondence  with  a  universal  or  ideal  type  or  with  the 
intention  of  nature.  Normal  conditions  are  necessary 
to  expression. 

Abnormal  Conditions  are  those  resulting  from  wrong 
habits,  weakness,  perverted  or  inharmonious  growth 
or  development.  They  always  hinder  expression.  The 
organic  conditions  of  expression  are  established  by  train- 
ing. The  expressive  modulations  depend  upon  them  and 
right  mental  actions  tend  to  produce  them,  but  they  must 
be  developed  primarily  by  specific  studies,  problems,  or 
exercises. 

Physical  Training  is  chiefly  concerned  with  growth 
and  the  securing  of  health  and  strength. 

Expressive  Training  requires  the  stimulation  of  both 
growth  and  development ;  it  implies  health  and  strength, 
and  requires  a  special  development  of  flexibility. 


VI. 
CONDITIONS  AND   QUALITIES  OF   VOICE. 

Are  these  preparatory  actions  in  extreme  surprise  or 
exclamations  due  to  the  fact  that  the  mental  action  is 
extreme,  or  do  they  in  any  degree  belong  to  all  reading 
and  speaking  ? 

Careful  study  of  any  involuntary  vocal  action,  or  of 
all  right  use  of  the  voice,  will  show  us  that  these  actions 
are  not  unusual  but  fundamental;  that  they  must 
respond  to  the  successive  impressions  as  naturally  as 
the  successive  modulations;  and  that  these  responsive 
conditions  must  be  renewed  and  changed  with  every 
impression. 

Accordingly,  it  is  necessary  to  give  serious  attention 
to  the  conditions  of  voice  and  body.  As  an  instrument 
must  be  in  tune  before  it  can  be  properly  played  upon, 
so,  it  is  necessary  to  correct  perversions  and  establish 
normal  conditions,  for  although  voice  and  body  are 
man's  organism  and  responsive  to  his  being,  they  have 
been  perverted  by  bad  habits. 

Hence,  it  is  necessary  to  return  again  and  again  to 
organic  conditions  and  systematically  to  practise  exer- 
cises for  the  development  of  both  voice  and  body. 
Many  faults  are  due  to  rigidity,  constriction,  and  abnor- 
mal use  of  man's  organism. 

It  is  discouraging  to  the  student  to  find  that  all  his 
practice  directly  makes  his  faults  worse,  but  haphazard, 
careless  practice,  or  work  without  a  principle  in  nearly 
every  instance  produces  this  effect.  Vocal  training, 
accordingly,  cannot  be  left  to  accident  or  taught  by 
imitation.  The  student  must  discover  some  funda- 
mental principle  by  which  he   will  know  what  will 

69 


'JO  FOUNDATIONS   OF   EXPRESSION 

bring  strength  and  develop  normal  conditions  and 
what  will  destroy  them. 

Ordinary  expression  has  such  an  incalculable  num- 
ber of  elements,  every  part  of  the  body  may  seemingly 
move  or  not  move,  breath  may  or  may  not  be  taken, 
that  we  are  apt  to  think  that  all  actions,  especially 
those  before  speech,  are  accidental  and  unimportant. 
Hence,  in  working,  the  student  often  accentuates  some- 
thing not  only  accidental  but  that  perverts  nature's 
harmonious  action. 

Among  the  many  actions  concerned  in  speaking  a 
simple  phrase  we  find  a  few  underlying  the  rest.  If 
these  are  correct,  normal  conditions  will  result;  if  per- 
verted, the  whole  expression  will  be  wrong. 

Further  study  of  the  primary  responses  in  excla- 
mations will  prove  that  the  taking  of  breath  and  the 
opening  of  the  tone  passage  are  not  only  natural  and 
initiatory  actions  in  expression,  but  that  when  rightly 
co-ordinated  they  establish  fundamental  conditions, 
and  that  in  them  a  principle  is  involved  concerning  the 
right  establishment  of  necessary  conditions  for  good 
tone  and  the  right  use  of  the  voice. 

If  we  experiment  with  ourselves  and  carefully  observe 
our  actions,  how  can  we  know  which  are  right  and 
which  are  wrong?  Yet  we  feel  always  that  among 
these  there  is  a  difference.  If  we  cramp  the  face  the 
tone  is  cramped,  if  we  constrict  the  throat  the  tone  is 
constricted.  We  find  that  certain  actions  at  the  start 
of  a  tone  pervert  its  character. 

I.  Fundamental  Principle.  If  we  make  a  further 
study  of  the  primary  responses  in  exclamations,  we 
find  that  the  taking  of  breath,  and  the  opening  of  the 
tone  passage  are  not  only  natural  and  initiatory  actions 
in  exclamations,  but  when  normally  produced  are 
associated  with  the  establishment  of  conditions  that 
are  fundamental  to  all  right  use  of  the  voice. 


CONDITIONS   AND   QUALITIES   OF   VOICE  71 

This  is  proved  by  the  fact  that  these  actions  when 
rightly  co-ordinated  cause  the  tone  to  be  made  easily 
and  freely,  constrictions  are  removed,  the  tone  is  made 
more  open,  free,  and  pure.  It  becomes  more  elastic 
and  flexible.  On  the  contrary,  where  these  are  absent 
the  qualities  of  voice  are  perverted;  we  have  throati- 
ness,  flatness,  narrowness,  or  nasality. 

One  great  test  of  a  truth  is  its  appHcability.  If  we 
have  mastered  these  co-ordinated  responses  so  that  they 
take  place  with  the  reception  of  every  impression,  we 
find  the  faults  of  the  voice  eliminated.  All  abnormal 
qualities,  in  fact,  are  radically  corrected,  and  normal 
qualities  of  the  voice  unfolded  by  the  right  practice  of 
these  exercises. 

If  we  observe  some  one  who  suffers  with  sore  throat, 
who  grows  weary  from  the  use  of  the  voice,  or  whose 
voice  seems  permanently  weak,  we  always  find  that  his 
ideas  are  not  individualized,  his  thinking  not  sufficiently 
imaginative  and  intense  to  cause  activity  in  the  middle 
of  his  body  and  simultaneous  passivity  in  the  tone 
passage  before  speaking  each  phrase  or  clause.  He 
breathes  seldom  because  his  thinking  is  abstract  and 
general,  his  pauses  are  not  the  agents  of  his  attention, 
he  stops  to  take  breath  merely  because  his  lungs  are 
exhausted ;  silence  is  not  due  to  the  active  realization  of 
an  impression  and  his  breathing  is  not  a  sympathetic 
response  to  the  rhythmic  sequence  of  ideas. 

If  we  examine  the  causes  of  throatiness,  nasality,  flat- 
ness or  a  person  suffering  with  sore  throat  we  find  vari- 
ous constrictions  in  his  tone  passage  and  some  kind  of 
perversion  in  his  breathing.  In  short,  all  weakness 
and  faults  of  voice  are  more  or  less  associated  with  a 
perversion  or  lack  of  the  primary  responses  of  breath- 
ing and  the  tone  passage  to  individual  impressions. 

Here  then  we  find  our  first  step  in  vocal  training. 
It  seems  exceedingly  simple,  and  at  first  thought  nearly 


^2  FOUNDATIONS    OF    EXPRESSION 

every  one  will  exclaim :  is  it  possible  that  the  perver- 
sion of  such  a  simple  condition  causes  public  school 
teachers  to  suffer  so  much  from  sore  throats,  and 
preachers  and  speakers  to  fail  in  their  life  work? 

Simple,  however,  as  the  principle  seems,  it  is  difficult 
to  establish  when  lost.  It  implies  co-ordination  of  the 
nerve  centres.  In  little  children  this  co-ordination  is 
natural,  but  later  in  life,  when  lost,  it  is  difficult  to 
restore.  The  student  must  be  prepared  for  patient 
and  perseve'ring  practice  of  a  few  simple  exercises,  and 
watchfulness  even  in  conversation,  until  he  has  so  thor- 
oughly established  these  primary  conditions  that  they 
directly  respond  to  every  thought. 

Make,  accordingly,  a  more  careful  study  of  surprises. 
Imagine  that  some  one  walking  upon  the  top  of  a  build- 
ing is  about  to  step  upon  a  board  which  you  know  will 
give  way.  What  will  you  do?  You  will  shout.  But 
before  you  shout  you  do  certain  things  or  the  shout  will 
not  be  given.  You  take  breath  and  your  tone  passage 
opens.  These  things  seem  to  be  done  for  you.  They 
seem  to  be  subconscious  and  involuntary  responses,  but 
without  them  you  cannot  shout. 

If  you  are  a  nervous,  hysterical  person  your  body  will 
become  cramped,  your  breathing  will  stop,  you  will 
choke,  and  you  can  utter  no  word  to  save  your  life. 
Normal  responses  produce  a  shout  by  establishing 
certain  fundamental  conditions.  Perverted  nervous 
conditions  act  in  opposition  to  the  normal  responses. 

The  taking  of  breath  and  the  opening  of  the  throat  act 
together.  They  are  co-ordinate.  Strange  to  say,  they 
cannot  be  done  by  will.  The  throat  opens  passively. 
You  may  take  breath  but  the  throat  will  respond  only 
when  there  is  a  sympathetic  feeling  through  the  body. 
A  spontaneous  co-ordination,  caused  by  the  impression 
acting  subconsciously,  even  involuntarily,  upon  the  body, 
will  cause  the  right  condition. 


CONDITIONS    AND    QUALITIES    OF    VOICE  73 

While  these  actions  take  place  naturally  and  immedi- 
ately, they  can  be  studied  and  accentuated.  We  can 
receive  a  stronger  impression  of  an  individual  idea,  and 
practise  some  surprise  over  and  over  until  these  actions 
respond  readily  and  spontaneously.  We  can  become 
conscious  of  them,  and  they  become  co-ordinated  in  the 
voluntary  use  of  the  voice. 

The  mastery  of  this  fundamental  co-ordination  is  the 
first  technical  step  in  the  improvement  of  the  voice. 
Without  obedience  to  it  the  voice  cannot  be  trained. 

The  first  step  to  improve  this  co-ordination  should  be 
the  practice  of  exclamations  as  already  indicated.  Utter 
commands  and  short  clauses,  observing  and  accentu- 
ating the  co-ordination  of  these  preparatory  conditions. 
Practise  also  vivid  impressions  with  intense  pictorial 
action  of  the  mind  and  deep  feeling. 

Render  from  the  following  lyric  the  word  "  Hark." 
Imagine  you  hear  the  lark  early  in  the  morning,  and 
repeat  the  word  with  tenderness  and  joy  many 
times.  Then  give  the  word  "Arise."  Picture 
in  your  mind  the  castle,  and  Imogen  asleep,  and 
in  the  spirit  of  the  morning  give  the  word  with  great 
admiration  and  tenderness.  Persevere  in  this  practice, 
repeating  the  word  fifty  or  one  hundred  times  even,  until 
you  are  sure  there  is  a  sympathetic,  spontaneous  co-or- 
dination of  the  primary  responses. 

Haik,  harkl  the  lark  at  heaven's  gate  sings, 

And  Phoebus  'gins  arise, 
His  steeds  to  water  at  those  springs 

On  chaliced  flowers  that  lies; 
And  winking  Mary-buds  begin 

To  ope  their  golden  eyes; 
With  every  thing  that  pretty  bin, 

My  lady  sweet,  arise ; 
Arise,  arise  1 

"Cymbelint."  SHAKESPEARE, 

Render  joyous  lyrics,  repeating  a  single  exclamation 
or  phrase  as  in  the  last  exercise,  and  then  give  phrasts 


74  FOUNDATIONS  OF   EXPRESSION 

or  the  whole  poem,  making  long  pauses  with  extreme 
changes  of  pitch,  and  other  modulations  of  the 
voice,  and  observe  that  distinct  pictures  in  the 
mind  establish  the  conditions  of  the  tone.  Note  for 
example  in  rendering  the  following,  that  the  more 
definite  the  realization  of  each  successive  idea,  the 
greater  the  openness  of  the  tone  passage,  and  the 
retention  of  breath  as  well  as  expressive  changes. 

O  LARK  OF  THE  SUMMER  MORNING. 

I  love  to  lie  in  the  clover, 

With  the  lark  like  a  speck  in  the  sky, 

While  its  small,  sweet  throat  runneth  over 
With  praise  it  sendeth  on  high. 

0  lark  of  the  summer  morning, 

Teach,  teach  me  the  song  that  you  sing, 

1  would  learn  without  lightness  or  scorning. 

To  give  praise  for  every  good  thing. 

O  lark  of  the  summer  morning  1 

Give,  give  me  of  praying  the  key. 
And  I'll  learn  without  lightness  or  scorning 

As  I  did  at  my  own  mother's  knee. 
From  the  Japanese. 

IN  BLOSSOM   TIME. 

It's  O  my  heart,  my  heart,  to  be  out  in  the  sun  and  sla^, 
to  sing  and  shout  in  the  fields  about  in  the  balm  and  blossoming. 
Sing  loud,  O  bird  in  the  tree;  O  bird  sing  loud  in  the  sky, 
and  honey-bees  blacken  the  clover  seas ;  there  are  none  of  you 
glad  as  I.  The  leaves  laugh  low  in  the  wind,  laugh  low  with  the 
wind  at  play,  and  the  odorous  call  of  the  flowers  all  entices  my 
soul  away.  For  O  but  the  world  is  fair,  and  O  but  the  world  is 
sweet,  I  will  out  of  the  gold  of  the  blossoming  mold,  and  sit  at 
the  Master's  feet.  And  the  love  my  heart  would  speak,  I  will 
fold  in  the  lily's  rim,  that  the  lips  of  the  blossom,  more  pure  and 
meek,  may  offer  it  up  to  him.  Then  sing  in  the  hedgerow 
green,  O  thrush,  O  skylark,  sing  in  the  blue;  sing  loud,  sing 
clear,  that  the  King  may  hear,  and  my  soul  shall  sing  with  you. 

INA  DONNA  COOLBRITH. 

Take  some  beautiful  lyric,  such  as  "  Tipperary  in 
the  Spring,"  and  after  noting  the  love  of  na-    «_ 
ture,  of  home,  and  the  joyous,  tender  lyric  spirit 
tbat  permeates  it,  render  the  first  word  "  Ah  "  with 


CONDITIONS   AND   QUALITIES   OF   VOICE  yj 

the  conditions  of  the  whole  poem,  repeating  it  twenty 
to  fifty  times,  observing  that  the  breath  is  taken 
sympathetically  and  that  the  tone  passage  begins  to 
open  at  the  back  of  the  tongue  with  sympathetic 
relaxation  and  without  constriction  or  labor.  Then 
render  the  whole,  establishing  the  responsive  con- 
ditions before  every  phrase. 

TIPPERARY  IN  THE   SPRING. 

Ah,  sweet  is  Tipperary  in  the  springtime  of  the  year, 

When  the  hawthorn's  whiter  than  the  snow, 
WTien  the  feathered  folk  assemble,  and  the  air  is  all  a-tremble 

With  their  singing  and  their  winging  to  and  fro; 
When  queenly  Slievenamon  puts  her  verdant  vesture  on, 

And  smiles  to  hear  the  news  the  breezes  bring, 
And  the  sun  begins  to  glance  on  the  rivulets  that  dance  — 

Ah,  sweet  is  Tipperary  in  the  Spring. 

Ah,  sweet  is  Tipperary  in  the  springtime  of  the  year. 

When  mists  are  rising  from  the  lea. 
When  the  Golden  Vale  is  smiling  with  a  beauty  all  beguiling, 

And  the  Suir  goes  crooning  to  the  sea; 
And  the  shadows  and  the  showers  only  multiply  the  flowers 

That  the  lavish  hand  of  May  will  fling; 
Where  in  unfrequented  ways,  fairy  music  softly  plays  — 

Ah,  sweet  is  Tipperary  in  the  Spring! 

Ah,  sweet  is  Tipperary  in  the  springtime  of  the  year. 

When  life  like  the  year  is  young, 
When  the  soul  is  just  awaking  like  a  lily  blossom  breaking. 

And  love  words  linger  on  the  tongue ; 
When  the  blue  of  Irish  skies  is  the  hue  of  Irish  eyes. 

And  love  dreams  cluster  and  cling 
Round  the  heart  and  round  the  brain,  half  of  pleasure,  half  of  pain  — 

Ah,  sweet  is  Tipperary  in  the  spring, 

DENIS  A.  McCarthy. 

Speak   upon   some    animated   topic    realizing    each 
impression  so  vividly  and  intensely  that  breath     ,, 
is   taken  and   the   tone   passage   opens    simul- 
taneously before  each  idea  and  phrase. 

Speak  upon  some  exciting  topic  and  be  sure  that  the 
reception  of  every  impression  causes  breathing    g„ 
and    passivity     of    the     throat.       Individualize 
and    intensify   each   successive   impression   until    the 


76  FOUNDATIONS   OF   EXPRESSION 

rhythm  of  breathing  responds  to  the  rhythm  of  the 
ideas. 

Co-ordination  is  the  production  of  more  or  less 
diverse  actions  simultaneously  from  one  nerve  centre 
or  from  the  subconscious  union  of  several. 

2.  Correct  Method  of  Breathing.  Not  only 
must  we  take  breath  and  open  the  tone  passage  before 
speech,  but  the  method  of  breathing  and  opening  the 
tone  passage  must  be  correct.  Bad  habits  have  so 
dominated  most  persons  that  both  these  actions  need 
attention. 

Breathing,  while  the  most  natural  and  necessary 
action  of  life,  may  be,  and  often  is,  so  perverted  that 
weak  and  imperfect  tone  results,  and  often  sore  throat 
and  loss  of  health. 

Lie  down  and  breathe  as  naturally  and  as  easily  as 
in  sleep,  and  note  that  the  predominant  activity  in 
natural  breathing  is  in  the  middle  of  the  body.  In  all 
normal  respiratory  action,  the  centre  of  its  activity  cor- 
responds with  the  centre  of  gravity. 

Observe  laughter,  and  note  that  real  laughter  affects 
the  middle  of  the  body.  It  increases  and  centralizes 
breathing  and  opens  the  tone  passage.  Labored,  con- 
stricted, or  mock  laughter  has  the  opposite  effect. 

After  mastering  the  elements  of  genuine  laughter 
start  a  tone  with  the  very  first  initiations  of  a  laugh, 
and  then  laugh  out  clauses  and  sentences. 

Many  other  unconscious  and  involuntary  actions, 
such  as  sighing,  sobbing,  or  groaning,  will  show  that 
the  predominant  activity  of  breathing  in  all  involun- 
tary use  of  the  voice  is  found  in  the  middle  of  the 
body. 

In  practising  the  co-ordinations  be  sure  to  breathe  in 
the  middle  of  the  body,  and  allow  no  motion  of  the 
shoulders  and  no  constrictions  of  the  tone  passage. 
The  voice  can  often  be  greatly  improved  by  simply  cen- 


COWDITIOWS   AND    QUALITIES   OF    VOICE  77 

tralizing  the  breathing  and  increasing  the  sympathetic 
and  elastic  retention  of  the  breath  during  the  produc- 
tion of  a  tone.  Where  the  student  can  practise,  with 
understanding,  distinctly  technical  exercises,  he  may 
accomplish  more  rapid  and  more  effective  results.  But 
such  exercises  must  be  carefully  practised,  and  under 
the  oversight  of  a  teacher. 

In  the  following  exercise  give  gently,  "  Ha,  ha,"  for 
example,  then  laugh  out  the  word  "  Come,"  and  then 
render  the  closing  lines  over  and  over  again  with 
all  the  openness,  freedom  and  spontaneous  con- 
ditions of  genuine  laughter. 


68 


A  LAUGHING  SONG. 

When  the  green  woods  laugh  with  the  voice  of  joy, 
And  the  dimpling  stream  runs  laughing  by; 
When  the  air  does  laugh  with  our  merry  wit, 
And  the  green  hill  laughs  with  the  noise  of  it; 

When  the  meadows  laugh  with  lively  green, 

And  the  grasshopper  laughs  in  the  merry  scene; 

When  Mary,  and  Susan,  and  Emily, 

With  their  sweet  round  mouths  sing,  "  Ha,  ha,  hel  '• 

When  the  painted  birds  laugh  in  the  shade. 
Where  our  table  with  cherries  and  nuts  is  spread; 
Come  live,  and  be  merry,  and  join  with  me 
To  sing  the  sweet  chorus  of  "  Ha,  ha,  he !  " 


BLAKE 


MARCH. 

Oh,  such  a  commotion  under  the  ground 

When  March  called,  "  Ho,  there!  ho!  '» 
Such  spreading  of  rootlets  far  and  wide, 

Such  whispering  to  and  fro; 
And,  "  Are  you  ready?  "  the  Snowdrop  asked, 

*Tis  time  to  start,  you  know." 
"  Almost,  my  dear,"  the  Scilla  replied; 

"  I'll  follow  as  soon  as  you  go." 
Then,  "  Ha !  ha !  ha !  "  a  chorus  came 

Of  laughter  soft  and  low. 
From  the  millions  of  flowers  under  the  ground 

Yes,  millions  —  beginning  to  grow. 


78  FOUNDATIONS   OF    EXPRESSION 

*'  111  promise  my  blossoms,"  the  Crocus  said, 

"  When  I  hear  the  bluebirds  sing." 
And  straight  thereafter,  Narcissus  cried, 

"  My  silver  and  gold  I'll  bring." 
**  And  are  they  dulled,"  another  spoke, 

"The  hyacinth  bells  shall  ring." 
And  the  violet  only  miu-mured,  "  I'm  here," 

And  sweet  grew  the  air  of  spring. 
Then,  "  Ha! ha! ha!  "  a  chorus  came 

Of  laughter  soft  and  low, 
From  the  millions  of  flowers  under  the  ground  — 

Yes,  millions  —  beginning  to  grow. 

Oh,  the  pretty,  brave  things!  through  the  coldest  days, 

Imprisoned  in  walls  of  brown. 
They  never  lost  heart  though  the  blast  shrieked  loud, 

And  the  sleet  and  hail  came  down. 
But  patiently  each  wrought  her  beautiful  dress, 

Or  fashioned  her  beautiful  crown; 
And  now  they  are  coming  to  brighten  the  world, 

Still  shadowed  by  Winter's  frown; 
And  well  may  they  cheerily  laugh,  "  Ha! ha!  " 

In  a  chorus  soft  and  low, 
The  millions  of  flowers  hid  under  the  ground  — 

Yes,  millions  —  beginning  to  grow. 

NOT    KNOWN. 

When  daffodils  begin  to  peer, 

With  heigh !  the  doxy  over  the  dale. 
Why  then  comes  in  the  sweet  o'  the  year, 

For  the  red  blood  reigns  in  the  winter's  pale. 

SHAKESPEARE. 

Observe  the  effect  of  good  nature  and  heartiness  in 
increasing  the  amount  of  breath  and  its  elastic  and  sym- 
pathetic retention  by  activity  at  the  base  of  the    .^ 
lungs  or  of  the  inspiratory  muscles.     Then  read 
with  the  greatest  possible  ease  some  hearty  passage 
full  of  joy  and  kindliness. 

W'en  you  see  a  man  in  wo, 

Walk  right  up  and  say  "  hullo  I  *' 

Say  " hullo  "  an'  "how  d'ye  do  ? " 
"  How's  the  world  a-usin'  you  ?  " 

Slap  the  fellow  on  his  back. 

Bring  yer  han'  down  with  a  whack; 

Waltz  right  up,  an'  don't  go  slow, 

Grin  an'  shake  an'  say  "  hullo  1 " 
"UoUo."  8.  W.  FOS& 


CONDITIONS   AND   QUALITIES   OF   VOICE  7^ 

One  important  test  of  the  correctness  of  the  breathing 
is  the  ease  of  tone  production.  Proper  centrality  and 
retention  of  the  breath  remove  all  constriction  from  the 
tone  passage  and  cause  a  sense  of  restful  ease  to  diffuse 
itself  over  the  body.  Centrality  of  the  vibrations  v^^ill 
always  be  hindered  by  faults  of  breathing  such  as  wrong 
centre  constrictions  or  one-sided  labor.  Ease  is  one  of 
the  essential  qualities  of  the  voice  and  it  can  be  estab- 
lished only  through  right  command  of  the  breath. 

Express    genuine    joy   or    intense    exultation    with 
sympathetic   ease,  accentuating,   especially,    the    _^ 
central  and  harmonious  retention  of  the  breath. 

THE   GOOD   TIME   COMING. 

There's  a  good  time  coming,  hojSf 

A  good  time  coming: 
We  may  not  live  to  see  the  day, 
But  earth  shall  glisten  in  the  ray 

Of  the  good  time  coming. 
Cannon-balls  may  aid  the  truth, 

But  thought's  a  weapon  stronger ^ 
We'll  win  our  battle  by  its  aid ;  — 

Wait  a  little  longer. 

There's  a  good  time  coming,  bojrs, 

A  good  time  coming: 
The  pen  shall  supersede  the  sword, 
And  Right,  not  Might  shall  be  the  lord 

In  the  good  time  coming. 
Worth,  not  Birth,  shall  rule  mankind, 

And  be  acknowledged  stronger ; 
The  proper  impulse  has  been  given;  — 

Wait  a  little  longer 

There's  a  good  time  coming,  boys, 

A  good  time  coming: 
War  in  all  men's  eyes  shall  be 
A  monster  of  iniquity 

In  the  good  time  coming. 
Naclons  shall  not  quarrel  then. 

To  prove  which  is  the  stronger; 
Nor  slaughter  men  for  glory's  sake;  — 

Wait  a  little  longer.  .... 


80  FOUNDATIONS   OF   EXPRESSION 

There's  a  good  time  coming,  boys, 

A  good  time  coming: 
The  pevijple  shall  be  temperate. 
And  shalUoV  y  instead  of  hate, 

In  the  good  time  coming. 
They  shall  use,  and  not  abuse, 

And  make  all  virtue  stronger. 
The  reformation  has  begun;  — 

Wait  a  little  longer. 

There's  a  good  time  coming,  boys, 

A  giSod  time  coming: 
Let  us  rid  it  ail  we  can, 
Every  woman,  every  man, 

The  good  time  coming. 
Smallest  helps,  if  rightly  given, 

Make'  the  impulse  stronger  •  — 
Twill  bo  strong  en  ;ugh  one  day ;  — 

Wait  a  little  longer. 

CHARLES   MACKAY. 

Heartiness  with  dignity  and  poise  also  tend  to  cen- 
tralize and  to  harmonize  the  respiratory  action.    _^ 
Give  the  following  words  with  the  good-natured, 
royal  attitude  of  the  exiled  duke  as  heartily  and  S3rm- 
pathetically  as  possible. 

Now  my  co-mates,  and  brothers  in  exile, 
Hath  not  old  custom  made  this  life  more  sweet 
Than  that  of  painted  pomp""  Are  not  these  woods 
More  free  from  peril  than  the  envious  coiu-t?  ,  .  ,  . 
And  this  our  life,  exempt  from  public  haunt, 
Finds  tongues  in  trees,  books  in  the  running  brooks. 
Sermons  in  stones,  and  good  in  everything. 
From"  As  You  Lik*  It."  SHAKESPEARE 

BIRD   RAPTURES. 

The  sunrise  wakes  the  lark  to  sing. 
The  moonrise  wakes  the  nightingale. 

Come  darkness,  moonrise,  everything 
That  is  so  silent,  sweet  and  pale: 
Come,  so  ye  wake  the  nightingale. 

Make  haste  to  mount,  thou  wistful  moon. 
Make  haste  to  wake  the  nightingale: 

Let  silence  set  the  world  in  tune 
To  hearken  to  that  wordless  tale 
Which  warbles  from  the  nightingale. 


CONDITIONS   AND   QUALITIES   OF   VOICE  6l 

O  herald  skylark,  stay  thy  flight 

One  moment,  for  a  nightingale 
Floods  us  with  sorrow  and  delight. 

To-morrow  thou  shalt  hoist  the  sail; 

Leave  us  to-night  the  nightingale. 

CHRISTINA  GEORGINA  ROSSETTl. 


One  of  the  chief  faults  that  may  occur  in  the  use  of 
the  breath  in  reading  and  speaking  is  breathing  too  sel- 
dom. To  correct  this  we  must  establish  a  still  deeper 
co-ordination,  that  between  the  mind  and  the  voice. 

What  is  it  determines  the  number  of  times  we  breathe? 
The  thinking.  One  who  thinks  abstractly  always  breathes 
too  seldom.  Individualize  ideas,  concentrate  attention 
on  each  successive  idea  and  receive  a  definite  impres- 
sion; then  the  rhythm  of  thinking  will  determine  the 
rhythm  of  breathing. 

Take  first  a  passage,  and  while  giving  it  with  long 
pauses  and  vivid  ideas  be  sure  that  breathing  responds 
to  thinking.  Take  also  the  following  spirited  _„ 
poem  and  give  it  with  great  animation,  but  only 
suggest  the  rapid  movement  by  decision  of  touch  while 
picturing  each  idea  as  vividly  as  possible.  Note  that 
animation  is  due  to  the  vividness  of  the  successive 
ideas,  and  that  the  rhythm  of  breathing  increases  with 
the  excitement  in  proportion  to  the  animation  of  the 
thinking. 

THE  SKATER»S  SONG. 

Away!  away  I  our  fires  stream  bright  along  the  frozen  river; 
and  their  arrowy  sparkles  of  frosty  light  on  the  forest  branches 
quiver.  Away!  away  I  for  the  stars  are  forth,  and  on  the  pure 
snows  of  the  valley,  in  a  giddy  trance,  the  moonbeams  dance 
—  come,  let  us  our  comrades  rally  1 

Let  others  choose  more  gentle  sports  by  the  side  of  the  winter 
hearth ;  or  'neath  the  lamps  of  the  festal  halls  seek  for  their 
share  of  mirth;  but  as  for  me,  awayl  away!  where  the  merry 
skaters  be  —  where  the  fresh  wind  blows  and  the  smooth  ice 
glows,  there  is  the  place  for  me! 

TEA  BODY 


8a  FOUNDATIONS  OF  EXPRESSION 

In  all  work  for  vocal  training,  the  student  and 
teacher  should  especially  note  that  there  is  activity  in 
the  expansion  of  the  body,  in  breathing,  and  that  othef 
conditions  of  voice  immediately  respond  to  the  think- 
ing and  feeling.  These  conditions  must  even  precede 
the  modulations  of  the  voice. 

The  student  should  render  joyous  lyrics,  full  of  admir- 
ation of  nature,  heartiness,  and  animation,  and  observe 
that  the  living  energies  and  actions  of  the  mind,  such  as 
breathing  and  the  expansion  of  the  body  and  other 
direct  signs  of  Hfe,  should  be  increased  as  part  of  the 
immediate  preparation  for  speech. 

SAILOR'S  SONG. 

The  sea  goes  up,  the  sky  comes  down. 
Oh,  can  you  spy  the  ancient  town,  — 
The  granite  hills  so  hard  and  gray, 
That  rib  the  land  behind  the  bay? 

Oh  ye  ho,  boys  I    Spread  her  wings  I 

Fair  winds,  bo}^ :  send  her  home  1 
O  ye  ho  I 

Three  years?    Is  it  so  long  that  we 

Have  lived  upon  the  lonely  sea? 

Oh,  often  I  thought  we'd  see  the  town. 

When  the  sea  went  up,  and  the  sky  came  down. 

O  ye  ho,  boys  I    Spread  her  wings  I 

Fair  winds,  boys :  send  her  home  I 
0  ye  ho  I 

Even  the  winter  winds  would  rouse 
A  memory  of  my  father's  house; 
For  round  his  windows  and  his  door 
They  made  the  same  deep,  mouthless  roar. 

O  ye  ho,  boys !    Spread  her  wings  I 

Fair  winds,  boys:    send  her  home  I 
O  ye  hoi 

Tifl  but  a  seeming ;  swiftly  rush 
The  seas,  beneath.    I  hear  the  crush 
Of  foamy  ridges  'gainst  the  prow. 
Longing  outspeeds  the  breeze,  I  know. 

O  ye  ho,  boys  I    Spread  her  wings  I 

Fair  winds,  boys :  send  her  home  I 
0  ye  ho  I 


CONDITIONS  AND   QUALITIES   OF   VOICE  83 

Patience,  my  mates  I    Though  not  this  eve. 
We  cast  our  anchor,  yet  believe, 
If  but  the  wind  holds,  short  the  run: 
We'll  sail  in  with  to-morrow's  sun. 

O  ye  ho,  boys  I    Spread  her  wings  I 

Fair  winds,  boys:   tend  her  home  1 
0  ye  ho  1 

LATHROP. 

MAN   AND   NATURE. 

0  Eteadfast  trees  that  know 
Rain,  hail,  and  sleet,  and  snow, 
And  all  the  winds  that  blow; 

But  when  spring  comes,  can  then 

So  freshly  bud  again 
Forgetful  of  the  wrong  I 

Waters  that  deep  below 
The  stubborn  ice  can  go 
With  quiet  underflow, 

Contented  to  be  dumb 

Till  spring  herself  shall  come 
To  listen  to  your  song  I 

Stars  that  the  clouds  pass  o'er 
And  stain  not,  but  make  more 
Alluring  than  before:  — 

How  good  it  is  for  us 

That  your  lives  are  not  thus 
Prevented,  but  made  strong! 

ROBERT   KELLEY   WEEKS 

In  speaking,  breathe  often,  and  center  the  breathing 
in  the  middle  of  the  torso.    Allow  it  to  bring  into 
sympathetic   activity  the  whole   chest.    Breathe 
frequently  and  fully,  but  also  as  easily  as  possible. 

3.  Freedom  of  Tone.  Attention  must  not  only  be 
given  to  correctness  of  breathing  but  also  to  the  right 
method  of  opening  the  mouth  and  tone  passage.  Man 
opens  the  mouth  for  food  in  a  different  manner  than  for 
tone.  For  food  we  open  the  Ups  and  the  teeth  by  pulling 
down  the  jaw;  in  doing  this  we  simultaneously  lift  the 
back  of  the  tongue  and  lower  the  soft  palate  shutting 
the  back  of  the  mouth.    In  tone  production,  on  the  con- 


84  FOUNDATIONS   OF   EXPRESSION 

trary,  the  opening  begins  in  the  pharynx  and  at  the  back 
of  the  tongue,  and  the  lips  are  the  last  to  part.  The 
opening  of  the  passage  for  tone  is  passive,  the  opening 
of  the  mouth  for  food  is  active.  The  mouth  can  never 
be  opened  properly  for  tone  by  a  pull.  The  whole  tone 
passage  must  drop  open  by  relaxation  and  must  be 
co-ordinated  with  the  simultaneous  taking  of  the 
breath. 

If  the  tone  passage  starts  to  open  at  the  back  of  the 
tongue,  simultaneously  with  the  taking  of  breath,  the 
breath  will  pass  naturally  through  the  nose  and  the 
whole  tone  passage  will  relax  and  the  lips  part  last.  The 
attempt  to  shut  the  mouth  and  suck  air  through  the  nose 
constricts  the  voice,  and  violates  the  very  object  aimed 
at,  —  namely,  natural  respiration  through  the  nose. 

The  pharynx,  with  the  back  of  the  tongue  and  soft 
palate,  form  the  gate-way  of  the  voice.  When  there  is 
constriction  at  this  point  there  will  always  be  faults 
of  tone.  All  defects  of  voice,  especially  such  pharyn- 
geal faults  as  nasality,  throatiness,  flatness,  must  be 
eradicated  by  securing  a  sympathetic  relaxation  and 
openness  of  the  tone  passage.  This  passive  opening 
of  the  tone  passage  cannot  be  secured  except  in  direct 
co-ordination  with  the  free,  central,  and  harmonious 
taking  of  breath,  and  this  co-ordination  must  come  in 
direct  response  to  the  vivid  impressions  of  the  mind. 

The  sympathetic  co-ordination  of  centralized  breath- 
ing and  passive  opening  of  the  tone  passage  must  be 
practised  faithfully  with  individual  vowels,  „ - 
with  single  words,  with  phrases,  and  in  con- 
nection with  reading  and  speaking,  until  it  is 
thoroughly  mastered.  Many  persons  who  have  had 
perverted  habits  will  require  longj  persevering  practice 
to  attain  this  result. 

Ah  I  April,  ah  1  thou  life  of  all  the  year. 

WIJ.LIAM  MORBXS- 


cx)in)inoNs  Ain>  qualoies  op  voick  ^5 

Oh  I  joy  to  be  out  in  June 

*NeaUi  the  cloudless  blue  in  the  dav^n  and  dew 

Mid  the  ruddy  buds  of  clover  I 

For  life  is  a  blessed  boon 

When  June  wakes  love  in  the  heart  anew 

And  the  cup  of  bliss  runs  overi 

Read  animated  passages  and  be  sure  to  realize  each 
successive  centre  of  attention  or  idea  so  vividly  __ 
as  to  establish  voice  conditions;  co-ordinate  the 
taking  of  the  breath  with  activity  in  the  centre  of  the 
body  and  the  relaxation  of  the   tone  passage   before 
speaking  each  phrase. 

MY  THRUSH. 

All  through  the  sultry  hours  of  June, 
From  morning  blithe  to  golden  noon. 

And  till  the  star  of  evening  climbs 
The  gray -blue  East,  a  world  too  soon, 

There  sings  a  Thrush  amid  the  limes. 

God's  poet  hid  in  foliage  green 
Sings  endless  songs,  himself  unseen  j 

Right  seldom  come  his  silent  times. 
Linger,  ye  summer  hours  serene  1 

Sing  on,  dear  Thrush,  amid  the  limes  I 

May  I  not  dream  God  sends  thee  there, 
Thou  mellow  angel  of  the  air, 

Even  to  rebuke  my  earth  her  rhymes 
With  music's  soul,  all  praise  and  prayer? 

Is  that  thy  lesson  in  the  limes? 

Closer  to  God  art  thou  than  I: 

His  minstrel  thou,  whose  brown  wings  fly 

Through  silent  skies  to  sunnier  climes. 
Ah,  never  may  thy  music  diet 

Sing  on,  dear  Tnrush,  amid  the  limes. 

MOKTIMER  COLLINS. 

Ifobody  looks  at  the  clouds  with  a  love  that  equals  mine; 
I  know  them  in  their  beauty,  in  the  morn  or  the  even  shine 
i  know  them,  and  possess  them,  my  castles  in  the  air. 
My  palaces,  cathedrals,  and  banging  gaidens  fair. 


86  FOUNDATIONS   OF   EXPRESSION 

Practise  passages  expressive  of  normal  or  ideal  emo- 
tions, especially  those  which  induce  animation,  such 
as  patriotism,  admiration  of  nature,  love  of  _« 
home,  and  good-natured  contentment.  Realize 
the  ideas  so  intensely  as  to  cause,  not  only  harmonious 
breathing,  but  the  sympathetic  openness  and  relaxa- 
tion of  the  whole  tone  passage,  and  give  freedom  of 
expression  and  richness  of  vibration. 

Ring,  freedom's  bells,  across  all  lands ! 

Ring,  happy  bells,  from  shore  to  shore  I 
Until  your  echoes  from  far  strands 

Come  back  to  us  once  more. 
Ring  out  a  blood-bought  country's  worth; 

O  joyful  bells,  ring  high,  ring  low, 
To  celebrate  a  nation's  birth, 

One  hundred  years  ago  1 

Come  from  the  hills  where  your  hirsels  are  grazing, 

Come  from  the  glen  of  the  buck  and  the  roe; 
Come  to  the  crag  where  the  beacon  is  blazing, 
Come  with  the  buckler,  the  lance,  and  the  bow. 
Trumpets  are  sounding, 
War-steeds  are  bounding. 
Stand  to  your  arms,  and  march  in  good  order, 
England  shall  many  a  day 
Tell  of  the  bloody  fray, 
When  the  Blue  Bonnets  came  over  the  Border. 

SCOTT. 

A   SONG   OF  THE   SEA 

A  wet  sheet  and  a  flowing  sea,  a  wind  that  follows  fast 
And  fills  the  white  and  rustling  sail  and  bends  the  gallant  mast; 
And  bends  the  gallant  mast,  my  boys,  while  like  the  eagle  free 
Away  the  good  ship  flies,  and  leaves  old  England  on  the  lee. 

O  for  a  soft  and  gentle  wind,  I  heard  a  lair  one  cry; 
But  give  to  me  the  snoring  breeze  and  white  waves  heaving  high ; 
And  white  waves  heaving  high,  my  lads,  the  good  ship  tight  and  free 
The  world  of  waters  is  our  home,  and  merry  men  are  we. 

There's  tempest  in  yon  horned  moon,  and  lightning  in  yon  cloud; 
But  hark  the  music,  mariners,  the  wind  is  piping  loud ; 
The  wind  is  piping  loud,  my  boys,  the  lightning  flashes  free  — 
While  the  hollow  oak  our  palace  ii,  our  heritage  the  sea. 

A    CUNNINGHAM. 


CONDITIONS   AND   QUALITIES   OF   VOICE  87 

Those  evening  bells  !  those  evening  bells  I 
How  many  a  tale  their  music  tells 
Of  youth,  and  home,  and  that  sweet  time 
When  last  I  heard  their  soothing  chime  1 
"Tho«e  Evening  Bells."  THOMAS  MOORE. 

Lo  1  in  a  flash  of  crimson  splendor,  with  blazing  scarlet  clouds, 
running  before  his  chariot,  and  heralding  his  majestic  approach, 
God's  sun  rises  upon  the  world,  and  all  Nature  wakens  and 
brightens.  O,  glorious  spectacle  of  light  and  life!  O,  beatific 
symbol  of  Power,  Love,  Joy,  and  Beauty  1  Let  us  look  at  thee 
with  humble  wonder,  and  thankfully  acknowledge  and  adore. 
What  gracious  forethought  is  it  —  what  generous  and  loving 
provision,  that  deigns  to  prepare  for  our  eyes  and  to  soothe  our 
hearts  with  such  a  splendid  morning  festival !  For  these  mag- 
nificent bounties  of  Heaven  to  us,  let  us  be  thankful  that  even 
we  can  feel  thankful  (for  thanks  surely  is  the  noblest  effort, 
as  it  is  the  greatest  delight,  of  the  gentle  soul),  and  so  a  grace  for 
this  feast,  let  all  say  who  partake  of  it. 

THACKERAY. 

Our  hearts,  our  hopes,  are  all  with  thee: 

Our  hearts,  our  hopes,  our  prayers,  our  tears, 
Our  faith,  victorious  o'er  our  fears. 

Are  all  with  Thee,  —  are  all  with  Thee  ! 

LONGFELLOW 

HOMEWARD   BOUND. 

Into  the  west  of  the  waters  on  the  living  ocean's  foam, 
Into  the  west  of  the  sunset  where  the  young  adventurers  roam, 
Into  the  west  of  the  shining  star,  I  am  sailing,  sailing,  home: 
Home  from  the  lonely  cities,  time's  wreck,  and  .he  nak.d  woe, 
Home  through  the  clean,  great  waters  wher^^  freemen's  pennants 

blow, 
Home  to  the  Ijmd  men  dream  of,  where  all  the  nations  go; 
'Tis  home  but  to  be  on  the  waters,  'tis  home  already  here, 
Through  the  weird  red-billowing  sunset  into  the  west  to  steer. 
To  fall  asleep  in  the  rocking  dark  with  home  a  day  more  near. 

By  morning  light  the  ship  holds  on,  alive  with  happy  freight, 
A  thousand  hearts  witn  one  still  joy,  and  with  one  hope  elate. 
To  reach  the  land  that  mothered  them  and  sweetly  guides  their  fate; 
Whether  the  purple  furrow  heaps  the  bows  with  dazzling  spray. 
Or  buried  in  the  green-based  masses  they  dip  the  storm-swept  day. 
Or  the  white  flag  ribbons  o'er  them,  the  strong  ship  holds  her  way; 
And  when  another  day  is  done,  by  the  star  of  love  we  steer 
To  the  land  of  all  that  we  love  best  and  all  that  we  hold  dear; 
We  are  sailing  westward,  homeward;  our  western  home  is  near. 

GEORGE   EDWARD   WOOnHERRV 


g^  FOUimATIONS  OP  EXPRESSION 

The  splendor  falls  on  castle  walls, 

And  snowy  summits  old  in  story; 
The  long  light  shakes  across  the  lakes. 

And  the  wild  cataract  leaps  in  glory. 
"Bogle  Song."  TENNYSON. 

In  conversation  or  speaking  keep  the  chest  sym- 
pathetically expanded,  the  lungs  full,  by  breathing    __ 
frequently:  but  keep  also  the  tone  passage  re- 
laxed, using  large,  not  loud  vowels.    Keep  the  tone  as 
open  and  free  as  possible. 

A  Fault  of  Voice  is  some  abnormal  action  due  to 
constriction  or  misuse  of  some  part,  and  is  usually 
caused  by  misuse  or  lack  of  control  over  thinking  and 
feeUng. 

Throatiness  is  a  constriction  of  tone  in  the  pharynx 
and  back  of  the  tongue. 

Nasality  is  constriction  in  the  back  of  the  tongue 
and  in  the  soft  palate. 

Flatness  is  due  to  constriction,  chiefly  of  the  pillars 
of  the  soft  palate. 

Muscular  Tone  is  due  to  too  much  activity  in  the 
muscles,  especially  of  the  pharynx  and  tongue,  during 
tone  production. 

Ease  in  Tone  Production  is  due  to  the  central 
sympathetic  or  normal  use  of  the  breath. 

Freedom  of  Tone  is  due  chiefly  to  the  openness  of 
the  tone  passage  and  its  harmonious  relationship  with 
the  retention  of  breath. 

Purity  of  Tone  is  due  to  the  regularity  of  the  vibra- 
tions. It  implies  no  waste  of  breath  or  constriction 
of  any  part,  but  the  sympathetic  and  normal  co-ordi- 
nation, not  only  of  the  pharynx,  but  of  the  vocal  bands 
with  the  diaphragm  or  the  parts  controlling  the  breath. 

The  centre  in  a  correct  method  of  breathing 
corresponds  more  or  less  with  the  centre  of  gravity. 


vn. 

VOICE  AND  BODY. 

If,  while  laughing  genuinely,  we  pucker  or  constrict 
the  mouth,  the  tone  is  completely  changed.  "We  can 
in  this  way  change  the  quality  of  the  tone  without 
changing  the  vowel.  If  we  constrict  the  whole  face 
and  endeavor  to  make  a  soft,  gentle  tone  we  find  it 
diflicult ;  in  fact,  we  discover  that  the  whole  body  serves 
as  the  vibratory  agent  of  the  tone  and  any  constric- 
tion or  abnormal  action  at  once  affects  it. 

Accordingly,  it  is  necessary  to  train  the  body  and 
develop  responsive  conditions  of  the  muscles  for  gen- 
uine improvement  of  the  voice. 

In  observing  exclamations,  we  found  that  there  was 
not  only  the  taking  of  breath  and  opening  of  the  tone 
passage  to  be  considered,  but  expansion  of  the  whole 
body  as  a  part  of  the  preparatory  actions  for  tone. 

So  influential  is  the  whole  body  over  tone  that  bad 
breathing  is  often  caused  by  bad  poise.  Hard,  nasal 
tones  are  often  caused  also  by  constriction  of  the  bod" 

In  general,  accordingly,  in  all  exercises  for  tone  and 
in  all  reading,  students  must,  as  far  as  possible,  think 
the  thought  and  feel  the  emotion  through  the  whole 
organism.  As  soon  as  imagination  is  awakened  there 
will  be  a  tendency  to  improve  the  bodily  conditions. 

The  body,  however,  like  the  voice,  may  have  con- 
strictions and  other  perversions  as  a  result  of  habit  which 
must  necessarily  be  corrected. 

The  student  should  study  the  normal  intentions  of  his 
body,  and  endeavor,  as  far  as  possible,  to  proceed  step 
by  step  from  that  which  is  most  fundamental  to  the 

89 


go  FOUNDATIONS   OF    EXPRESSION 

development  of  the  normal  and  ideal  conditions  of  the 
whole  organism,  not  only  to  improve  his  voice,  but  his 
expression  and  bearing. 

If  the  body  does  not  respond,  the  vocal  organism  will 
also  fail  to  have  the  right  conditions.  The  body  is  the 
whole,  the  voice  a  part.  Accordingly,  there  should  be 
careful  training  not  merely  for  health  or  strength,  as 
in  organic  gymnastics,  but  a  study  of  the  body  in  relation 
to  being  and  voice.  All  true  training  in  delivery  must 
bring  mind,  body,  and  voice  into  greater  unity. 

A  few  steps  are  here  indicated  which  demand  careful 
attention. 

I.  Expansion  of  the  Body.  If  we  observe  others  or 
ourselves  in  an  attitude  of  indifference,  we  shall  perceive 
that  the  chest  tends  downward,  but  that  any  excitement 
causes  it  to  rise ;  not,  however,  by  bending  the  back,  but 
by  an  expansion  in  all  directions.  This  expresses  cour- 
age, self-assertion,  and  life  in  the  individual,  sets  free 
the  lungs,  and  establishes  the  fundamental  condition,  not 
only  for  voice,  but  for  all  expression. 

It  must  be  noted  that  the  expansion  of  the  chest,  while 
at  the  start  simultaneous  with  the  act  of  breathing  and 
the  opening  of  the  tone  passage,  is  not  changeable  like 
these,  but  is  more  sustained,  being  often  kept  expanded 
through  sentences  and  paragraphs. 

It  is  a  condition  which  does  not  change  with  the  tak- 
ing of  each  breath ;  indeed  it  is  more  a  pantomimic  than 
a  vocal  condition. 

Accordingly,  chest  expansion  should  never  be  caused 
by  the  action  of  the  respiratory  muscles,  but  by  that  of 
the  intercostal  muscles.  The  expansion  of  the  torso  is  a 
fundamental  pantomimic  expression.  It  is  not  a  part 
of  the  breathing  or  vocal  actions  but  precedes  and  estab- 
lishes conditions  favorable  to  voice.  The  other  pre- 
paratory conditions  can  hardly  be  co-ordinated  without 
this. 


VOICE   AND   BODY 


91 


A  simple  exercise  for  developing  sympathetic  and 
expressive  expansion  of  the  chest,  consists  in  placing  one 
hand  upon  the  back,  at  the  point  where  there  is  the 
greatest  curvature  inward,  and  the  other  hand  high  upon 
the  chest,  then  carry  the  hands  apart  by  sympathetic 
expansion  and  easily  sustain  it  for  a  time. 

The  most  important  exercise,  however,  for  expansion 
of  the  chest,  is  not  a  mere  physical  movement,  but  the 
sympathetic  practice  of  exultant  or  inspiring  passages, 
animated  lyrics,  and  the  like. 

The  expansion  of  the  chest  must  express  self-asser- 
tion, self-respect,  genuine  animation,  heartiness,  sym- 
pathy, or  courage.  Mere  physical  exercises  are  helpful, 
but  genuine  expression  of  noble  thoughts  and  feelings 
are  better  because  they  stimulate  the  psychic  and  spirit- 
ual cause  of  the  normal  action. 

Feel  the  animation  and  excitement  of  the  following 
so    intensely  as  to  cause   the   taking  of   breath   and 
the  openness  of  the  tone  passage,  making  a  free    „q 
and  open  tone  with  sudden  variations  of  touch, 
inflexions,  pitch  and   range.     Sympathetically  expand 
the  whole  body. 

Hounds  are  in  their  couples  yelling, 
Hawks  are  whistling,  horns  are  knelling, 
Merrily,  merrily  mingle  they, 
"  Waken,  lords  and  ladies  gay." 

"  HontiBg  Song."  SCOTT. 

Come  fill  up  my  cup,  come  fill  up  my  can; 
Come  saddle  your  horses,  and  call  up  your  men; 
Come  open  the  Westport,  and  let  us  gang  free. 
And  it's  room  for  the  bonnets  of  bonnie  Dundee! 

SCOTT. 

Leap  out,  leap  out,  my  masters ;  leap  out  and  lay  on  load! 
Let's  forge  a  goodly  anchor,  a  bower,  thick  and  broad  I 

"  Forging  of  the  Anchor."  FERGUSON. 

2.  Elevation  and  Centrality  of  the  Body.  In 
the  absence  of  thought  or  aspiration  the  body  sinks 
towards  the  earth;  but  under  the  dominion  of  noble 


92  FODITOATIONS  OF  EXPRESSION 

ideas  it  becomes  elevated  and  the  weight  tends  to  pass 
to  one  foot.  When  there  is  absence  of  feeUng  and  ani- 
mation, the  base  widens,  the  weight  tends  to  pass  to 
both  feet,  and  they  are  far  apart.  This  attitude  expresses 
famihar  ease,  vulgar  repose,  impudence,  indifference, 
insolence.  Animation,  regard  for  others,  excitement, 
courage,  sympathy,  and  endeavor,  lift  the  body  and 
bring  the  weight  upon  one  foot. 

The  teacher  who  understands  the  principles  of  train- 
ing can,  at  this  point,  endeavor  to  estabUsh  stable  equili- 
brium, and  introduce  the  student  to  that  important  step, 
possibly,  the  most  difficult  work  for  the  improvement 
of  expression  that  can  be  undertaken,  the  development 
of  a  sense  of  poise.  It  is  a  rare  attainment,  however, 
and  should  not  be  attempted  with  the  thoughtless  or 
indifferent.  In  all  cases  begin  with  the  practice  of  such 
short  lines  as  will  establish  the  response  of  the  body  to 
being. 

Feel  ideas,  situation,  and  points  of  view  so  intensely 
that   the    whole   body  becomes    sympathetically     „« 
elevated  and  the  weight  passes  to  one  foot. 

Howe'er  it  be,  it  seems  to  me, 

'Tis  only  noble  to  be  good. 
Kind  hearts  are  more  than  coronets, 

And  simple  faith  than  Norman  blood. 

ALFRED  TENNYSON. 

Attempt  to  speak  upon  some  subject  with  indiffer- 
ence  and   observe   the   tendency  to   stand  upon  both 
feet.    Increase  the  earnestness  or  desire  to  per- 
suade, and  note  the  tendency  of  the  animation 
to  expand  and  lift  the  body,  causing  you  to  stand  on 
one  foot. 

Up,  up  with  thy  praise-breathing  anthem!  alone 
The  drowsyhead,  man,  on  his  bed  slumbers  prone;  .... 
Let  the  least  in  creation  the  greatest  despise  — 
Then  up  to  heaven's  threshold,  blithe  skylark,  arise  I 
"Skylark."  DAVID  M.  MOIR. 


VOICE   AND    BODY  g^ 

Higher,  higher  will  we  climb,  up  to  the  mount  of  glory. 
That  our  names  may  live  through  time  in  our  country's 
story. 

Oh,  and  proudly  stood  she  up! 

Her  heart  within  her  did  not  fail: 
She  looked  into  Lord  Ronald's  eyes. 

And  told  him  all  her  nurse's  tale. 

TENNYSON. 

DUTY. 

I  slept  and  dreamed  that  life  was  Beauty: 
I  woke  and  found  that  life  was  Duty: 
Was  then  thy  dream  a  shadowy  lie? 
Toil  on,  sad  heart,  courageously, 
And  thou  shalt  find  thy  dream  to  be 
A  noonday  light  and  truth  to  thee. 

ELLEN    STURGIS    HOOPER 


See  the  noble  fellow's  face 
As  the  big  ship  with  a  bound, 
Clears  the  entry  like  a  hound, 
Keeps  the  passage  as  its  inch  of  way  were  the  wide  sea's  profound 

'Herv^Reil."  BROWNING. 

INVICTUS. 

Out  of  the  night  that  covers  me, 

Black  as  the  pit  from  pole  to  pole, 
I  thank  whatever  Gods  may  be 

For  my  unconquerable  soul. 

In  the  fell  clutch  of  circumstance 

I  have  not  winced  nor  cried  aloud; 
Under  the  bludgeonings  of  chance 

My  head  is  bloody,  but  unbowed. 

Beyond  this  place  of  wrath  and  tears 
Looms  but  the  Horror  of  the  shade. 

And  yet  the  menace  of  the  years 
Finds  and  shall  find  me  unafraid. 

It  matters  not  how  strait  the  gate, 

How  charged  with  punishments  the  scroll, 

I  am  the  master  of  my  fate ; 
I  am  the  captain  of  my  soul. 

WILLIAM    ERNEST   HENLEY. 


94 


FOUNDATIONS   OF   EXPRESSION 


See  thou  bring  not  to  field  or  stone,  the  fancies  found  in  books; 
Leave  authors'  eyes,  and  fetch  your  own,  to  brave  the  landscape's  looks. 

Be  noble !  and  the  nobleness  that  lies 
In  other  men,  sleeping,  but  never  dead, 
Will  rise  in  majesty  to  meet  thine  own; 
Then  wilt  thou  see  it  gleam  in  many  eyes, 
Then  will  pure  light  around  thy  path  be  shed, 
And  thou  wilt  nevermore  be  sad  and  lone. 

JAMES   RUSSELL   LOWELL, 

Speak  upon  a   subject  first   taking  an  intellectual 
attitude;   then  increase  the  fervor   and   intensity  and 
observe  the  tendency  in  the  gravitation  of  pas-    ^^ 
sion,  to  pass  the  weight  from  the  rear  foot  to  the 
forward  foot. 

THE   PROBLEM. 

Not  from  a  vain  or  shallow  thought 

His  awful  Jove  young  t'hidias  brought. 

Never  from  lips  of  cunning,  fell 

The  thrilling  Delphic  oracle; 

Out  from  the  heart  of  nature  rolled 

The  burdens  of  the  Bible  old ; 

The  litanies  of  nations  came, 

Like  the  volcano's  tongue  of  flame, 

Up  from  the  burning  core  below,  — 

The  canticles  of  love  and  woe ; 

The  hand  that  rounded  Peter's  dome, 

And  groined  the  aisles  of  Christian  Rome, 

Wrought  in  a  sad  sincerity; 

Himself  from  God  he  could  not  free; 

He  builded  better  than  he  knew;  — 

The  conscious  stone  to  beauty  grew. 

Knowest  thou  what  wove  yon  woodbird's  nest 

Of  leaves,  and  feathers  from  her  breast? 

Or  how  the  fish  outbuilt  her  shell, 

Painting  with  morn  each  annual  cell? 

Or  how  the  sacred  pine-tree  adds 

To  her  old  leaves  new  myriads? 

Such  and  so  grew  these  holy  piles. 

Whilst  love  and  terror  laid  the  tiles. 

Earth  proudly  wears  the  Parthenon 

As  the  best  gem  upon  her  zone; 

And  morning  opes  with  haste  her  lids. 

To  gaze  upon  the  Pyramids; 

O'er  England's  abbeys  bends  the  sky. 

As  on  its  friends,  with  kindred  eye ; 


VOICE   AND   BODY  ^ 

For  out  of  thought's  interior  sphere, 
These  wonders  rose  to  upper  air ; 
And  nature  gladly  gave  them  place, 
Adopted  them  into  her  race, 
And  granted  them  an  equal  date 
With  Andes  and  with  Ararat. 

These  temples  grew  as  grows  the  grass; 

Art  might  obey,  but  not  surpass. 

The  passive  Master  lent  his  hand 

To  the  vast  soul  that  o'er  him  planned; 

And  the  same  power  that  reared  the  shrine 

Bestrode  the  tribes  that  knelt  within. 

Ever  the  fiery  Pentecost 

Girds  with  one  flame  the  countless  host, 

Trances  the  heart  through  chanting  choirs, 

And  through  the  priest  the  mind  inspires. 

The  word  unto  the  prophet  spoken 

Was  writ  on  tables  yet  unbroken; 

The  word  by  seers  or  sibyls  told. 

In  groves  of  oak,  or  fanes  of  gold. 

Still  floats  upon  the  morning  wind, 

Still  whispers  to  the  willing  mind. 

One  accent  of  the  Holy  Ghost 

The  heedless  world  hath  never  lost. 

(Eighteen  lines  omitted.)  EMERSON. 

Speak    with    such    earnestness    and    intensity    tha< 
the  whole  body  relaxes  and  changes  its  texture 
with  feeling. 

And  did  those  feet  in  ancient  time 

Walk  upon  England's  mountain  green? 

And  was  the  holy  Lamb  of  God 

On  England's  pleasant  pastures  seen? 

And  did  the  countenance  divine 
Shine  forth  upon  our  clouded  hills? 

And  was  Jerusalem  builded  here 
Among  these  dark  Satanic  mills? 

Bring  me  my  bow  of  burning  gold  I 

Bring  me  my  arrows  of  desire ! 
Bring  me  my  spear;  O  clouds,  unfold  I 

Bring  me  my  chariot  of  fire  I 

I  will  not  cease  from  mental  fight, 
Nor  shall  my  sword  sleep  in  my  hand, 

Till  we  have  built  Jerusalem 

In  England's  green  and  pleasant  land. 

VILLIAM   BLAKK. 


ge  FOUNDATIONS   OF   EXPRESSION 

He  that  has  light  within  his  own  clear  breast. 
May  sit  in  darkness  and  enjoy  bright  day ; 
But  he  that  hides  a  dark  soul  and  foul  thoughts, 
Benighted  walks  under  the  mid-day  sun. 

JOHN  MILTON, 

They  gave  their  lives  for  their  country,  and  gained  for  them- 
selves a  glory  that  can  never  fade,  a  tomb  that  shall  stand  as  a 
mark  foreverc  I  do  not  mean  that  in  which  their  bodies  lie, 
but  in  which  their  renown  lives  after  them,  to  be  remembered 
forever  on  every  occasion  of  speech  or  action  which  calls  it  to 
mind.  For  the  whole  earth  is  the  grave  and  monument  of 
heroes.  It  is  not  the  mere  graving  upon  marble  in  their  native 
land  which  sets  forth  their  deeds;  but  even  in  lands  where  they 
were  strangers  there  lives  an  unwritten  record  in  every  heart 
—  felt,  though  never  embodied. 

"  Funeral  Oration."  PERICLES. 

The  Primary  Actions  of  the  Body  are  expan- 
sion or  activity  of  the  extensor  muscles  expressive  of 
life  or  the  spontaneous  exuberance  of  force,  and  con- 
traction or  action  of  the  flexor  muscles  caused  by  con- 
trol, regulation,  suppression,  resolution,  or  struggle. 
h'OT  normal  expression,  through  the  body  or  voice, 
the  sympathetic  expansion  of  the  body  must  always 
transcend  the  contraction. 

The  diffusion  of  emotion  implies  a  certain  sympa- 
thetic elevation  of  the  whole  body,  but  especially  the 
harmonious  expansion  of  the  torso,  manifest  prima- 
rily at  the  chest. 

The  domination  of  emotion  over  the  body  causes 
not  only  expansion,  but  elevation,  centrality,  or  the 
passing  of  the  weight  of  the  body  to  one  foot;  and  an 
extreme  emotion  causes  gravitation,  or  the  passing  of 
the  weight  to  the  forward  foot. 


vm. 

LOGICAL  RELATIONS  OF  IDEAS. 

Thus  far  attention  has  been  called  to  the  individual 
impression.  This  causes  pause,  touch,  and  change  of 
pitch.  The  specific  impression  also  establishes  the 
responses  or  conditions  of  the  organism. 

It  is  now  necessary  to  study  thought  or  the  relations 
of  ideas  or  impressions  to  each  other.  The  right  rela- 
tion or  sequence  of  ideas  is  called  method,  and  is  deter- 
mined by  a  kind  of  rational  or  logical  insight. 

As  the  mind  in  thinking  passes  from  one  idea  to 
another,  in  addition  to  other  actions  enumerated,  we 
find  that  certain  ideas  receive  paramount  degrees  of 
attention.  A  whole  series  may  be  related  to  some  one 
idea.  One  centre  of  attention  is  made  unusually  salient 
and  others  are  subordinated  to  this.  Successive  ideas 
vary  in  importance,  and  whatever  the  mind  conceives 
to  be  of  most  value  the  voice  introduces  with  greater 
salience  or  suggests  by  greater  prominence. 

The  suggestion,  through  the  voice,  of  the  relative  value 
of  ideas  causes  a  modulation  of  inflexions  and  inter- 
vals which  may  be  called  form,  but  the  usual  name 
applied  to  it  is  emphasis.  Emphasis  is  the  accentua- 
tion or  increase  of  some  one  modulation  for  the  pur- 
pose of  making  some  one  idea  more  prominent.  It 
directly  expresses  the  logical  method  of  the  mind. 

I.  Relative  Value  of  Ideas.  Possibly  the  sim- 
plest way  to  recognize  and  to  develop  the  logical  actions 
of  the  mind  and  the  vocal  form  expressing  them,  is 
to  speak  or  read  some  passage  and  introduce  certain 
important  ideas  or  unfamiliar  objects  as  we  introduce 
people.  An  important  idea  is  so  presented  by  the 
reader  as  to  carry  the  mind  of  the  listener  in  the  right 

97 


q8  foundations  of  expression 

direction.  One  word  is  usually  given  a  long  inflexion 
from  a  higher  pitch,  and  is  thus  held  up  like  a  sign- 
board where  many  roads  meet  to  indicate  the  particular 
one  that  is  to  be  taken.  This  word  or  phrase  is  made 
salient  in  proportion  to  the  danger  at  such  a  point  of 
the  mind  wandering  in  the  wrong  direction,  or  in 
accordance  with  the  speaker's  desire  to  make  his 
thought  clear  and  forcible. 

Introduce  forcibly  and  pointedly  the  successive  centres 
of  attention  in  the  following  lines  from  Whittier's 
"Barefoot  Boy."  ^ 

0  for  boyhood's  time  of  June, 
Crowding  years  in  one  brief  moon.  .0.0 

1  was  rich  in  flowers  and  trees, 
Humming-birds  and  honey-bees ; 
For  my  sport  the  squirrel  played; 
Plied  the  snouted  mole  his  spade; 
For  my  taste  the  blackberry  cone 
Purpled  over  hedge  and  stone; 
Laughed  the  brook  for  my  delight 
Through  the  day  and  through  the  night, 
Whispering  at  the  garden  wall, 
Talked  with  me  from  fall  to  fall; 

Mine  the  sand-rimmed  pickerel  pond; 
Mine  the  walnut  slopes  beyond; 
Mine,  on  bending  orchard  trees, 
Apples  of  Hesperides  i 

WHITTIER. 

Notice  that  the  mind  uses  the  voice  to  introduce  as 
objects  of  interest  "  flowers  and  trees,"  "  humming- 
birds and  honey-bees,"  "  squirrel,"  **  mole,"  the  "  black- 
berry," "  brook,"  "  apples,"  "  world."  There  is  less 
saliency  upon  "  sport "  than  "  squirrel,"  upon  "  spade  " 
than  "mole."  "Brook"  is  made  salient:  "day  and 
night,"  "  garden  wall,"  "  fall  to  fall  "  are  centres  of 
attention  but  less  important  than  "  brook,"  which  they 
describe,  "  Pickerel  "  is  more  important  than  "pond," 
"  walnut  "  than  "  slopes,"  "  apples  "  than  "  trees  "  or 
"  Hesperides." 


LOGICAL   RELATIONS   OF   IDEAS 


99 


The  presence  of  another  mind,  the  endeavor  to  make 
ideas  clear  and  forcible  may  be  regarded  as  the  chief 
cause  of  this  relative  valuation,  and  yet  if  we  observe  any 
one  of  Shakespeare's  soliloquies,  we  find  that  though  the 
person  is  thinking  for  himself  and  not  dominating  the 
attention  of  anyone  else,  the  mental  action  is  accurately 
interpreted  by  Shakespeare. 

Render  Bassanio's  words  over  the  caskets,  noting  the 

salient  introduction  of  each  central  idea  and  new    _  . 
.  84 

topic. 

So  may  the  outward  shows  be  least  themselves : 
The  world  is  still  deceived  with  ornament. 
In  law,  what  plea  so  tainted  and  corrupt, 
But,  being  seasoned  with  a  gracious  voice, 
Obscures  the  show  of  evil?     In  religion, 
What  damned  error,  but  some  sober  brow 
Will  bless  it,  and  approve  it  with  a  text, 
Hiding  the  grossness  with  fair  ornament? 
There  is  no  vice  so  simple,  but  assumes 
Some  mark  of  virtue  on  its  outward  parts. 
How  many  cowards,  whose  hearts  are  all  as  false 
As  stairs  of  sand,  wear  yet  upon  their  chins 
The  beards  of  Hercules  and  frowning  Mars ; 

Who,  inward  search'd,  have  livers  white  as  milk! 

Look  on  beauty. 
And  you  shall  see  'tis  purchased  by  the  weight; 
Which  therein  works  a  miracle  in  nature, 
Making  them  lightest  that  wear  most  of  it; 
So  are  those  crisp'd  and  snaky  golden  locks, 
Which  make  such  wanton  gambols  with  the  wind, 
Upon  supposed  fairness,  often  known 
To  be  the  dowry  of  a  second  head, 
The  skull  that  bred  them  in  the  sepulchre. 
Thus  ornament  is  but  the  guiled  shore 
To  a  most  dangerous  sea;  the  beauteous  scarf 
Veiling  an  Indian  beauty ;  in  a  word 
The  seeming  truth  which  cunning  times  put  on 
To  entrap  the  wisest. 

From  "  Merchant  of  Venice."  SHAKESPEARE. 

The  mind  rests  with  increased  attention  upon  certain 
ideas.  "  Outward  shows  "  are  not  really  "  themselves.'* 
They  do  not  indicate  a  real  truth.    As  illustrations,  the 


lOO  FOUNDATIONS   OF   EXPRESSION 

poet  touches  upon  "  law  "  and  "  religion  "  and  other 
topics  which  are  made  salient  because  the  mind  turns 
in  a  new  direction. 

Emphasis  is  not  merely  the  domination  of  the  atten- 
tion of  others.  It  is  the  revelation  of  the  centres  of  the 
mind's  thinking  and  accentuates  our  method  of  thinking 
in  proportion  to  our  earnestness  in  conveying  a  truth  to 
others ;  it  suggests  also  the  degree  of  attention  and  seri- 
ousness in  our  own  thinking. 

In  conversation,  emphasis  is  so  natural  that  even  little 
children  emphasize  properly  in  expressing  their  wishes; 
yet  in  reading  it  is  frequently  absent.  This  is  because 
the  reader  does  not  genuinely  think  his  ideas  before 
speaking  them. 

To  illustrate  how  carelessly  we  read  passages,  take 
some  simple  and  most  familiar  hymn  and  note    __ 
how  mechanically  the  ideas  follow  each  other. 

BETHEL. 

Nearer,  my  God,  to  thee,  nearer  to  thee  I  E'en  though  it  be  a 
cross  that  raiseth  me;  still  all  my  song  shall  be,  nearer,  my 
God,  to  thee,  nearer  to  thee. 

Though,  like  the  wanderer,  the  sun  gone  down,  darkness  be 
over  me,  my  rest  a  stone ;  yet  in  my  dreams  I'd  be  nearer,  my 
God,  to  thee,  nearer  to  thee. 

There  let  the  way  appear  steps  unto  heaven;  all  that  thou 
sendest  me  in  mercy  given;  angels  to  beckon  me  nearer,  my 
God,  to  thee,  nearer  to  thee. 

Then  with  my  waking  thoughts,  bright  with  thy  praise,  out 
of  my  stony  griefs  Bethel  I'll  raise ;  so  by  my  woes  to  be  nearer, 
my  God,  to  thee,  nearer  to  thee. 

Or,  if  on  joyful  wing  cleaving  the  sky,  sun,  moon,  and  stars 
forgot,  upward  I  fly;  still  all  my  song  shall  be,  nearer,  my  God, 
to  thee,  nearer  to  thee. 

ADAMS. 

In  this  hymn  the  word  "  cross  "  is  fundamental  to  the 
first  stanza.  All  other  centres  of  attention  are  sub- 
ordinated to  this,  or  the  thought  of  the  poem  is  not  intro- 
duced either  to  our  own  attention  or  to  that  of  others. 
In  the  second  stanza,  "  wanderer  "  must  be  so  saliently 


LOGICAL   RELATIONS   OF   IDEAS  lOl 

given  as  to  suggest  Jacob ; "  sun,"  "  darkness,"  "  stone," 
"  dreams  "  are  centres  of  attention,  brought  in  to  com- 
plete the  picture  of  Jacob  at  Bethel.  The  word, 
"  heaven,"  reminds  us  of  his  dream  and  is  strongly 
emphatic,  as  is  also  "  mercy,"  because  interpreting  not 
only  Jacob's  Hfe  but  our  own.  "  Angels  "  is  strongly 
emphatic  and  a  figurative  interpretation  of  "  mercy." 
In  the  fourth  stanza  the  word  "  Bethel "  is  the 
first  word  of  importance,  but  "  woes  "  is  also  strongly 
emphatic. 

Through  all  these  stanzas,  "  nearer "  is  of  course 
emphasized  in  the  first,  subordinated  in  the  second  and 
third,  but  emphasized  anew  in  the  fourth  on  account  of 
its  interpretation.  In  the  last  stanza  the  word  '*  joyful  " 
is  strongly  emphatic  because  antithetic  to  "  cross  "  and 
"  woes,"  and  in  fact  it  introduces  a  thought  antithetic 
to  all  the  other  stanzas.  "  Sky,"  "  sun,"  "  moon," 
"  stars  "  are  also  accentuated.  The  word  "  all  "  is 
given  to  include  both  the  "  woes  "  and  "  joys." 

Such  familiar  poems  should  be  carefully  studied  as 
prose  to  note  not  only  the  length  of  line  and  rhyme  but 
the  deep  thought  of  the  passage  and  the  necessity  of 
revealing  this  by  the  voice.  Though  this  need  not  in 
any  way  interfere  with  metre,  it  must,  in  a  sense,  greatly 
subordinate  such  accidental  elements  as  rhyme  or  length 
of  line. 


Bassanio.  Sweet  Portia, 

If  you  did  know  to  whom  I  gave  the  ring, 
If  you  did  know  for  whom  I  gave  the  ring. 
And  would  conceive  for  what  I  gave  the  ring, 
And  how  unwillingly  I  left  the  ring, 
When  naught  would  be  accepted  but  the  ring, 
You  would  abate  the  strength  of  your  displeasure. 

Portia.     If  you  had  known  the  virtue  of  the  ring, 
Or  half  her  worthiness  that  gave  the  ring, 
Or  your  own  honor  to  contain  the  ring, 
You  would  not  then  have  parted  with  the  ring. 

•Merchant  of  Venice."     Act  V.  SHAKESPEARE. 


I02  FOUNDATIONS   OF   EXPRESSION 

The  relative  value  of  ideas  causes,  of  course,  a  cor- 
responding relative  value  of  words.  Emphasis  cannot 
be  explained  by  grammar.  Some  declare  that  all 
emphasis  should  be  upon  nouns,  but  a  little  study  will 
show  that  a  logical  synonym  is  often  a  phrase  or  clause. 
Emphasize  each  centre  of  attention  in  the  preced-  j.« 
ing  dialogue  between  Portia  and  Bassanio. 

In  the  first  two  lines,  as  Bassanio's  mind  is  centred 
on  the  young  lawyer,  he  emphasizes  "  whom  "  which 
stands  for  the  little  lawyer,  Portia  herself,  though  he 
failed  to  recognize  her.  The  centre  of  attention  in 
the  fourth  line  is  "  what " ;  in  the  fifth  "  unwillingly," 
in  the  sixth  "accepted"  or  "but;"  in  Portia's  answer, 
it  is  "  virtue,"  "  gave  "  and  "  honor."  In  the  third 
line  of  Bassanio's  speech,  "  for  "  turns  the  attention  to 
Antonio.  It  may  be  thought  that  here  the  repetition 
of  the  same  words  causes  this  emphasis;  but  this  is  not 
so,  because  in  the  next  line  "  would  conceive  "  might 
be,  "  if  you  did  know,"  without  altering  the  sense.  In 
fact,  this  repetition  of  the  identical  words  forcibly 
reveals  the  fact  that  in  natural  conversation  whole 
clauses  and  phrases  are  often  purely  synonymous  from 
the  logical  point  of  view.  The  study  of  the  logical 
actions  of  the  mind  reveals  the  fundamental  import- 
ance of  certain  words  and  the  subordinate  value  of 
others. 

A  common  fault  in  reading  and  speaking  is  the 
emphasizing  of  too  many  words.  As  a  rule,  five- 
sixths,  if  not  nine-tenths  of  the  words  in  the  most  effec- 
tive conversation  are  subordinate.  They  are  assumed. 
Only  an  idea  here  and  there  is  asserted  as  necessary  to 
carry  the  mind  forward. 

In  general,  those  words  are  emphatic  which  express 
ideas  additional  to  what  has  been  said,  and  suggest 
some  progressive  transition  of  the  thought.  Words 
TiOntaining  nothing  new,  and  simply  brought  in  as  a 


LOGICAL   RELATIONS   OF   IDEAS  103 

pronominal  means  of  carrying  on  the  thought,  are 
subordinated.  In  contrast  to  those  which  are  acci- 
dental or  synonymous,  and  accordingly  subordinate, 
words  standing  for  ideas  necessary  to  the  sense  are 
emphatic. 

Think  out  a  subject  carefully,  and  place  upon  a  small 
card  an  outline  of  this,  giving  a  few  of  the  most  impor- 
tant words.  Then,  after  speaking  upon  the  topic,  _ 
compare  what  you  said  with  the  outline  and  note 
whether  you  had  insight  into  those  points  which  were 
fundamental  to  the  whole  speech.  Did  you  emphasize 
the  important  words  that  you  had  placed  upon  your 
card? 

Give  the  fundamental  facts  of  some  journey,  some 
beautiful  view,  some  picture,  or  the  argument  of    „ 
some  novel  or  play,  and  study  critically  your 
insight  into  those  which  are  most  important,  and  your 
power  to  give  saliency  to  them. 

2.  Centrality  of  Ideas.  In  all  well  written  para- 
graphs some  one  clause  or  word  serves  as  the  centre 
whence  all  the  others  radiate.  The  same  is  true  of 
any  good  story  or  well  written  book.  As  a  good  piece 
of  music  has  many  variations  around  one  central 
theme,  so  one  central  idea  can  be  found  which  may 
be  stated  in  a  few  words.  In  the  vocal  interpretation 
of  any  passage  of  good  literature  we  find  not  only 
successive  centres  of  attention  but  that  one  idea  or 
word  will  be  found  to  be  most  important,  and  indicate 
the  fundamental  point  or  thought  of  the  whole  passage. 

In  the  following  poem  by  Longfellow,  observe  that 
"  arrow"  is  the  key  word  of  the  first  stanza  and  "  song  " 
of  the  second.  In  the  last  one,  "  oak "  and  ^.^ 
"  heart  of  a  friend "  are  both  emphatic,  but 
as  the  reference  to  the  arrow  is  figurative,  the  word 
"  friend  "  is  given  greater  saliency  as  being  the  climax 
of  the  poem. 


I04  FOUNDATIONS    OF    EXPRESSION 

Read  the  poem  giving  such  saliency  to  central  ideas 
as  will  show  the  organic  unity  of  the  whole. 

ARROW   AND    SONG. 

I  shot  an  arrow  into  the  air, 
It  fell  to  earth,  I  know  not  where; 
For,  so  swiftly  it  flew,  the  sight 
Could  not  follow  it  in  its  flight. 

I  breathed  a  song  into  the  air. 
It  fell  to  earth,  I  know  not  where; 
For  who  has  sight  so  keen  and  strong 
That  it  can  follow  the  flight  of  song? 

Long,  long  afterward,  in  an  oak 
I  found  the  arrow,  still  unbroke; 
And  the  song  from  beginning  to  end 
I  found  again  in  the  heart  of  a  friend. 

LONGFELLOW. 

What  points  in  the  following  poem  are  climactic? 
Attention  centres  upon  "  day,"  "  wave,"  and  "  star," 
and  these  words  are  emphatic,  but  the  word  -^ 
"  soul "  is  of  far  more  importance  than  these, 
since  it  introduces  the  real  thought  of  which  the 
others  are  but  illustrations.  Note  the  climactic  force 
and  emphasis  of  "  gladness." 

The  gloomiest  day  hath  gleams  of  light; 

The  darkest  wave  hath  white  foam  near  iti 
And  twinkles  through  the  cloudiest  night 

Some  solitary  star  to  cheer  it. 
The  gloomiest  soul  is  not  all  gloom. 

The  saddest  heart  is  not  all  sadness; 
And  sweetly  o'er  the  darkest  gloom 

There  shines  some  lingering  beam  of  gladness. 

PREJUDICE. 

Prejudice?  —  What  wrongs,  what  injuries,  what  mischiefs, 
what  lamentable  consequences,  have  resulted  at  all  times  from 
nothing  but  this  perversity  of  the  intellect!  Of  all  the  ob- 
stacles to  the  advancement  of  truth  and  human  progress,  in 
every  department  —  in  science,  in  art,  in  government,  and  in 
religion  —  in  all  ages  and  climes,  not  one  on  the  list  is  more 
formidable,  more  difficult  to  overcome  and  subdue,  than  this 
horrible  distortion  of  the  moral  as  well  as  intellectual  faculties 
It  is  a  host  of  evils  within  itself. 


LOGICAL   RELATIONS   OF   IDEAS 


105 


I  could  enjoin  no  greater  duty  upon  my  countrymen  now  — 
North  and  South  —  than  the  exercise  of  that  degree  of  forbear- 
ance which  would  enable  them  to  conquer  their  prejudices. 
One  of  the  highest  exhibitions  of  the  moral  sublime  the  world 
ever  witnessed  was  that  of  Daniel  Webster,  when,  in  an  open 
barouche  in  the  streets  of  Boston,  he  proclaimed  in  substance, 
to  a  vast  assembly  of  his  constituents  —  unwilling  hearers  — 
that  "  they  had  conquered  an  uncongenial  clime;  they  had  con- 
quered a  sterile  soil;  they  had  conquered  the  winds  and  currents 
of  the  ocean ;  they  had  conquered  most  of  the  elements  of  nature ; 
but  they  must  yet  learn  to  conquer  their  prejudices !  " 

I  know  of  no  more  fitting  incident  or  scene  in  the  life  of  that 
wonderful  man,  for  perpetuating  the  memory  of  the  true  great- 
ness of  his  character,  on  canvas  or  in  marble,  than  a  represen- 
tation of  him  as  he  then  and  there  stood  and  spoke.  It  was  an 
exhibition  of  moral  grandeur  surpassing  that  of  Aristides  when 
he  said,  "  O  Athenians,  what  Themistocles  recommends  would 
be  greatly  to  your  interest,  but  it  would  be  unjust." 

ALEXANDER   H.    STEPHENS, 

LIGHT. 

The  night  has  a  thousand  eyes, 

And  the  day  but  one. 
Yet  the  light  of  the  bright  world  dies 

With  the  dying  sun. 

The  mind  has  a  thousand  eyes, 

And  the  heart  but  one. 
Yet  the  light  of  a  whole  life  dies 

When  love  is  done. 

FRANCIS   W,    BOURDILLON 

IF   ALL   THE   SKIES. 

If  all  the  skies  were  sunshine. 

Our  faces  would  be  fain 
To  feel  once  more  upon  them, 

The  cooling  splash  of  rain. 

If  all  the  world  were  music. 

Our  hearts  would  often  long 
For  one  sweet  strain  of  silence 

To  break  the  endless  song. 

If  life  were  always  merry. 

Our  souls  would  seek  relief 
And  rest  from  merry  laughter 

In  the  quiet  arms  of  grief. 

VAN  DYKfc 


I06  FOUNDATIONS    OF    EXPRESSIOW 

The  summer  brook  flows  in  the  bed 

The  winter  torrent  tore  asunder ; 
The  skylark's  gentle  wings  are  spread 

Where  walk  the  lightning  and  the  thunder; 
And  thus  you'll  find  the  sternest  soul 

The  gayest  tenderness  concealing, 
And  minds,  that  seem  to  mock  control, 

Are  ordered  by  some  fairy  feeling. 

THOMAS   DAVIS. 

Speak  a  strong  paragraph  upon  some  subject,  and  be 
careful  to  make  some  word  or  words  so  salient  and 
others  so   subordinate  as  to   give  unity  to  the    ^^ 
whole  paragraph. 

Give  the  argument  of  some  play  or  book  in  as  few 
words  as  possible,  and  criticize  your  insight  into  the 
points  which  are  fundamental  and  most  important. 

3.  Antithesis.  In  all  earnest  thinking  there  is  a  ten- 
dency to  place  one  idea  over  against  another.  Contrast 
is  "  the  soul  of  oratory." 

The  force  of  antithesis  may  be  realized  by  taking  some 
simple  sentence  and  giving  each  word  successively  as  the 
centre  of  attention. 

Note,  for  example,  how  many  ideas  may  be  suggested 
to  a  hearer's  mind  by  such  a  rendering  of  the  sentence, 
"  He  never  said  that."  While  emphasis  upon  "  he  " 
indicates  that  somebody  else  might  have  said  it,  empha- 
sis upon  "  never  "  indicates  a  strong  denial  of  the  asser- 
tion. Emphasis  upon  "  said  "  may  be  simply  a  polite 
denial;  it  is  the  natural  centre,  but  emphasis  with  a 
long  inflexion  may  imply  that  he  wrote  it.  A  circumflex 
inflexion  may  imply  that  he  looked  it.  Emphasis  upon 
"  that "  may  imply  that  he  said  something,  but  that  it 
has  not  been  correctly  stated. 

These  examples  show  that  there  is  a  natural  centre 
in  each  clause  or  sentence,  but  that  antithesis  may 
totally  change  this. 

We  find  also  that  there  are  two  kinds  of  antithesis. 


LOGICAL   RELATIONS   OF   IDEAS  IO7 

First,  where  contrast  is  expressed,  and  second,  where  it 
is  implied.  The  latter  calls  for  the  strongest  degree  of 
emphasis.  Give  the  preceding  antitheses  implied  to 
suggest  something  different  in  each  case. 

In  the  following  passage   give   the   antitheses 
which  are  directly  expressed. 

Have  little  care  that  Life  is  brief. 
And  less  that  Art  is  long. 
Success  is  in  the  silences 
Though  fame  is  in  the  song. 

'•  Envoy."  BLISS   CARMAN. 

The  student  should  study  the  writings  of  great  authors 
and  orators,  noting  meanwhile  that  one  of  the 
important  elements  of  clearness  and  force  is  an- 
tithesis, and  render  passages  accentuating  the  antithet- 
ical elements  of  vocal  expression. 

Two  went  to  pray?     O,  rather  say, 

One  to  brag,  the  other  to  pray; 

One  stands  up  close  and  treads  on  high, 

Where  the  other  dares  not  lift  his  eye; 

One  near  to  God's  altar  trod, 

The  other  to  the  altar's  God. 

"  Two  Went  up  to  the  Temple  to  Pray."  RICHARD   CRASHAW 

Two  men  went  up  into  the  temple  to  pray;  the  one  a  Pharisee, 
and  the  other  a  publican.  The  Pharisee  stood  and  prayed  thus 
with  himself,  God,  I  thank  thee,  that  I  am  not  as  the  rest  of  men, 
extortioners,  unjust,  adulterers,  or  even  as  this  publican.  I 
fast  twice  in  the  week;  I  give  tithes  of  all  that  I  get. 

But  the  publican,  standing  afar  off,  would  not  lift  up  so  much 
as  his  eyes  unto  heaven,  but  smote  his  breast,  saying,  God,  be 
thou  merciful  to  me  a  sinner  i 

I  say  unto  you.  This  man  went  down  to  his  house  justified 
rather  than  the  other:  for  every  one  that  exalteth  himself  shall 
be  humbled;  but  he  that  humbleth  himself  shall  be  exalted. 

I  died  for  beauty,  but  was  scarce  adjusted  in  the  tomb, 
When  one  who  died  for  truth  was  lain  in  an  adjoining  room. 
He  questioned,  softly,  why  I  failed?     "  For  beauty,"  I  replied. 
"  And  I  for  truth  —  the  two  are  one ;  we  brethren  are ;  "  he  said. 
And  so  as  kinsmen  met  at  night,  we  talked  between  the  rooms. 
Until  the  moss  had  reached  our  lips,  and  covered  up  our  names. 

EMILY  DICKINSON 


loS  FOUNDATIONS   OF   EXPRESSION 

Students  should  study  thoughtfully  and  render  pass- 
ages which  are  considered  the  best,  —  such  as    ^ . 
the   speech  on  mercy  which  Shakespeare   puts 
into  the  mouth  of  Portia. 

The  quality  of  mercy  is  not  strain 'd ; 

It  droppeth  as  the  gentle  rain  from  heaven 

Upon  the  place  beneath ;  it  is  twice  bless'd; 

It  blesseth  him  that  gives,  and  him  that  takes: 

'T  is  mightiest  in  the  mightiest;  it  becomes 

The  throned  monarch  better  than  his  crown; 

His  sceptre  shows  the  force  of  temporal  power, 

The  attribute  to  awe  and  majesty, 

Wherein  doth  sit  the  dread  and  fear  of  kings: 

But  mercy  is  above  this  sceptred  sway; 

It  is  enthroned  in  the  hearts  of  kings : 

It  is  an  attribute  of  God  himself: 

And  earthly  power  doth  then  show  likest  God's, 

When  mercy  seasons  justice.     Therefore,  Jew, 

Though  justice  be  thy  plea,  consider  this,  — 

That  in  the  course  of  justice,  none  of  us 

Should  see  salvation ;  we  do  pray  for  mercy ; 

And  that  same  prayer  doth  teach  us  all  to  render 

The  deeds  of  mercy. 

"Merchant  of  Venice."      Act  IV.  SHAKESPEARE. 

Portia  has  said  to  the  Court,  "  Then  must  the  Jew  be 
merciful,"  to  which  Shylock  replies:  "On  what  com- 
pulsion must  I  ?  "  Portia  accordingly  accentuates  the 
word  "  strain'd  "  with  something  of  a  circumflex  inflex- 
ion indicating  her  surprise;  then  in  direct  antithesis, 
"  rain  "  and  possibly  "heaven."  "  Twice  "  means  that 
it  is  doubly  blest.  "  Takes  "  is  implied  in  the  acceptance 
of  mercy.  Her  special  point  is  to  emphasize  "  gives,"  — 
a  fact  often  overlooked.  The  first  "  mightiest "  is 
implied;  the  second  is  emphatic,  as  introducing  a  new 
point.  "  Monarch "  is  emphatic  because  a  specific 
example  of  "  mightiest " ;  "  sceptre  "  also  is  given  a  ris- 
ing inflexion  as  practically  the  same  as  "  crown."  The 
word  "  temporal "  has  a  strong  falling  inflexion  as  anti- 
thetic to  mercy  which  is  spiritual.  "  Awe,"  "  majesty," 
"  dread,"  and  "  fear  "  are  all  emphatic  because  particu- 


LOGICAL   RELATIONS   OF   mEAS  IO9 

lars  explaining  the  idea  of  "  crown."  "  Bangs  "  must 
not  be  emphatic  because  it  is  only  a  synonym  of  "  mon- 
arch " ;  it  must  be  completely  subordinated.  "  Mercy  " 
is  emphasized  because  antithetic  to  "  crown "  and 
"  sceptre."  Then  the  word  "  heart  "  is  strongly  empha- 
tic because  this  shows  the  real  difference  between 
"  crown  "  and  "  mercy ; "  it  is  antithetic  to  "  temporal  " 
and  the  characteristics  of  the  crown.  The  word  "  God  " 
is  strongly  emphatic  because  the  climax  of  the  emphasis 
of  the  spiritual  nature  of  mercy.  "  Earthly  "  is  empha- 
tic because  antithetical  to  "  God,"  and  carries  on  or 
sustains  the  antithesis.  "  Likest  "  and  "  seasons  "  keep 
up  the  antithesis  for  the  same  reason.  Portia's  aim  is  to 
show  the  real  nature  of  mercy,  and  this  general  aim  is 
the  chief  cause  of  the  centering  of  the  attention.  *'  Be  " 
puts  her  argument  above  the  justice  or  injustice  of  his 
plea.  "  Mercy  "  is  strongly  emphatic  because  of  its 
direct  antithesis  to  "  justice." 

CHARLES   AND    HIS   DEFENDERS. 

The  advocates  of  Charles,  like  the  advocates  of  other  male- 
factors against  whom  overwhelming  evidence  is  produced, 
generally  decline  all  controversy  about  the  facts,  and  content 
themselves  with  calling  testimony  to  character.  He  had  so 
many  private  virtues!  And  had  James  the  Second  no  private 
virtues?  Was  Oliver  Cromwell,  his  bitterest  enemies  themselves 
being  judges,  destitute  of  private  virtues?  And  what,  after  all, 
are  the  virtues  ascribed  to  Charles?  A  religious  zeal,  not  more 
sincere  than  that  of  his  son,  and  fully  as  weak  and  narrow- 
minded,  and  a  few  of  the  ordinary  household  decencies  which 
half  the  tombstones  in  England  claim  for  those  who  lie  beneath 
them.  A  good  father!  A  good  husband!  Ample  apologies 
indeed  for  fifteen  years  of  persecution,  tyranny  and  falsehood  I 

We  charge  him  with  having  broken  his  coronation  oath ;  and  we 
are  told  that  he  kept  his  marriage  vow!  We  accuse  him  of 
having  given  up  his  people  to  the  merciless  inflictions  of  the 
most  hot-headed  and  hard-hearted  of  prelates;  and  the  defence 
is,  that  he  took  his  little  son  on  his  knee  and  kissed  him !  We 
censiu-e  him  for  having  violated  the  articles  of  the  Petition  of 
Right,  after  having,  for  good  and  valuable  consideration,  promised 
to  observe  them ;  and  we  are  informed  that  he  was  accustomed 


no  FOXJWDATIONS   OF   EXPRESSION 

to  hear  prayers  at  six  o'clock  in  the  morning!  It  is  to  such 
considerations  as  these,  together  with  his  Vandyke  dress,  his 
handsome  face,  and  his  peaked  beard,  that  he  owes,  we  verily 
believe,  most  of  his  popularity  with  the  present  generation. 

From  the  "  Essay  on  Milton."  MACAULAY. 

I  lived  first  in  a  little  house,  and  lived  there  very  well, 

I  thought  the  world  was  small  and  round,  and  made  of  pale  blue  shell. 

I  lived  next  in  a  little  nest,  nor  needed  any  other, 

I  thought  the  world  was  made  of  straw,  and  brooded  to  my  mother. 

One  day  I  fluttered  from  the  nest  to  see  what  I  could  find. 

I  said:  "  The  world  is  made  of  leaves,  I  have  been  very  blind." 

At  length  I  flew  beyond  the  tree,  quite  fit  for  grown  up  labors, 

I  don't  know  how  the  world  is  made,  and  neither  do  my  neighbors ! 

"  Bird  Thoughts."  AUTHOR  NOT   KNOWN. 

Speak  upon  some  subject  and  give  the  greatest  pos- 
sible number  of  contrasts  or  antitheses,  accentuat-    q_ 
ing  these  as  much  as  possible  with  the  voice,  and 
observe  the  importance  of  antitheses  in  speaking. 

Take  some  important  subject  upon  which  men  are 
divided,  and   arrange   the   strongest  points   and    q- 
arguments  on  each  side. 

Debate  with  some  friend  and  observe  whether  you 
emphasize  the  specific  points  or  reasons  for  your    ._ 
convictions. 

Method  is  the  arrangement  of  successive  ideas  or 
impressions  into  the  proper  order  according  to  their 
relative  value  in  relation  to  a  purpose. 

The  expression  of  logical  insight  into  the  relative 
values  of  successive  ideas  and  words  through  the  voice 
has  usually  been  called  emphasis. 

Centralization  is  the  expressing  of  the  unity  of  a 
paragraph  by  accentuation  of  the  central  point,  and  the 
bringing  of  the  other  ideas  into  subordination  to  this. 

Subordination  is  the  realizing  of  an  idea  or  ideas  as 
secondary  to  a  central  one,  and  the  expression  of  this 
by  the  modulations  of  the  voice,  especially  by  the  length 
and  direction  of  inflexions  and  by  changes  in  pitch. 


IX. 
MODES  OF  EMPHASIS. 

How  does  the  voice,  in  uttering  words,  show  their 
relative  value,  or  indicate  the  central  idea  upon  which 
the  meaning  of  a  sentence  or  paragraph  depends?  In 
what  way  does  it  exhibit  various  degrees  of  earnestness? 

That  the  voice  mn  do  all  this  is  easily  recognized. 
Emphasis  has  been  too  often  regarded  as  the  first,  if  not 
the  only  element  in  delivery.  Yet  the  nature  of  empha- 
sis, its  mental  cause,  the  principles  governing  it,  and 
especially  the  methods  by  which  the  voice  suggests 
centrality  of  meaning,  have  received  little  attention. 

I.  Inflexion  and  Form.  Study  of  conversation 
reveals  the  fact  that  the  voice  indicates  the  centre  of 
attention  chiefly  by  length  of  inflexion.  The  rising  or  the 
falling  inflexions  upon  the  important  words  are  much 
longer  than  the  inflexions  upon  the  unimportant  ones. 
In  emphasis  by  the  falling  inflexion,  which  is  the  most 
important,  there  is  a  change  also  in  direction  of  inflexion 
at  the  emphatic  word. 

For  example,  —  "I  met  your  friend  last  night."  The 
words  before  "  friend  "  have  short  rising  inflexions,  but 
there  is  a  long  fall  from  a  higher  pitch  upon  "  friend," 
as  "  friend  "  is  the  emphatic  word,  and  all  the  words 
following  it  have  a  short  fall  on  a  lower  pitch ;  or  the 
reverse  if  "  friend  "  has  an  emphatic  rise. 

An  emphatic  rising  inflexion  begins  on  a  lower  pitch ; 
a  long,  emphatic  falling  inflexion,  on  a  higher  one. 

The  central  falling  or  rising  inflexion  can  be  greatly 
lengthened  according  to  the  degree  of  emphasis,  but  that 
there  should  be  long  inflexions  upon  the  emphatic  words 
is  an  essential  element  of  all  naturalness. 

Inflexion,  as  has  been  shown,  discharges  more  intel- 
lectual functions  than  any  other  voice  modulation,  and 

111 


112  FOUNDATIONS   OF   EXPRESSION 

as  emphasis  is  most  commonly  the  manifestation  of  the 
intellectual  centres  of  attention,  it  is  natural  that  the 
lengthening  of  inflexion  on  the  important  word  should 
form  the  leading  method. 

Whenever  it  is  desired  to  make  the  meaning  clearer, 
more    forcible    or    pointed,    cultivated    persons    ^.^ 
accentuate  the  form  —  that  is  they  lengthen  and 
make   more    definite  the    chief  inflfrdons   and    simul- 
taneously extend  the  interval. 

One  of  the  illusions  is,  that  the  present  hour  is  not  the  criti- 
cal, decisive  hour.  Write  it  on  your  heart  that  every  day  is  the 
best  day  in  the  year.  No  man  has  learned  anything  rightly, 
until  he  knows  that  every  day  is  Doomsday. 

EMERSON. 

The  last  clause  of  the  above,  "  every  day  is  Dooms- 
day," may  be  practised  to  illustrate  this  conversational 
form.  "  Every  day  "  and  "  is  "  have  each  a  short  rise 
on  a  lower  pitch.  "  Dooms  "  has  a  long  falling  inflex- 
ion from  a  higher  pitch,  while  the  last  "  day  "  has  a 
short  fall  on  a  lower  pitch.  Give  this  colloquially  or 
indifferently  and  then  with  various  degrees  of  empha- 
sis, by  prolonging  the  inflexions  and  intervals  q^ 
or  extending  the  vocal  form  and  range  but  with- 
out increasing  loudness.  Such  a  method  accentuates 
the  meaning  and  suggests  at  the  same  time  greater 
dignity  of  character. 

Archbishop.     The  king  is  full  of  grace  and  fair  regard.  .  .  , 
Hear  him  but  reason  in  divinity, 
And  all-admiring  with  an  inward  wish 
You  would  desire  the  king  were  made  a  prelate: 
Hear  him  debate  of  commonwealth  affairs, 
You  wotild  say  it  hath  been  all  in  all  his  study: 
List  his  discotu'se  of  war,  and  you  shall  hear 
A  fearful  battle  render'd  you  in  music: 
Turn  him  to  any  cause  of  policy, 
The  Gordian  knot  of  it  he  will  unloose, 
Familiar  as  his  garter:  .  .  . 
Which  is  wonder  how  his  grace  should  glean  it, 
Since  his  addiction  was  to  courses  vain. 
His  companies  unletter'd,  rude  and  shallow. 


MODES   OF   EMPHASIS  It  J 

His  hours  filled  up  with  riots,  banquets,  sports. 
And  never  noted  in  him  any  study, 
Any  retirement,  any  sequestration 
From  open  haunts  and  popularity. 

"  Henry  V."     Act  I.     Scene  I.  SHAKESPEARE. 

2.  Change  of  Key  and  Range.  Intervals  between 
words  and  phrases  are  necessarily  associated  with  inflex- 
ions, and  where  the  length  of  each  interval  corresponds 
usually  with  the  length  of  the  inflexion  upon  the  follow- 
ing word  have  been  fully  discussed.  Emphatic  intervals 
are  longer  changes  in  pitch  before  and  after  the  em- 
phatic falling  inflexion. 

In  addition  there  are  occasionally  found  more  ex- 
treme changes  in  pitch  or  key.  These  express  great 
changes  in  situation  and  feeling.  Such  unusual  changes 
are  found  also  between  paragraphs  and  the  main 
divisions  of  a  speech,  poem,  or  story.  Any  extreme 
change  in  thought,  feeling,  or  situation  tends,  in  digni- 
fied self-control,  to  cause  an  unusual  change  of  pitch. 
The  extent  of  the  variation  is  in  proportion  to  the 
degree  of  change  in  thought  and  feeling,  its  definite- 
ness,  and  the  control  over  it. 

Observe  in  rendering  these  lines  the  extreme  changes 
in  expr  ssion  and   especially  the    variations    of    ^^_ 
pitch  between  them. 

'*  O  father  I  I  see  a  gleaming  light;  O  say,  what  may  it  be?  " 
But  the  father  answered  never  a  word,  a  frozen  corpse  was  he. 

'*  Wreck  of  the  Hesperus."'  LONGFELLOW. 

The  extent  of  the  interval  is  proportional  to  the 
clearness  and  force  of  the  emphasis,  the  degree  of 
subordination,  and  the  self-command  of  the  speaker. 

Change  of  pitch  is  the  chief  element  in  subordination. 
The  placing  of  unemphatic  words  in  the  background  is 
of  great  importance  and  requires  earnest  study.  Em- 
phasis without  subordination  can  hardly  be  dignified 
and  noble  and  is  one  of  the  chief  causes  of  unnaturalness 
in  reading. 


1 14  FOUNDATIONS    OF    EXPRESSION 

Read  the  following  and  carefully  subordinate  unimpor- 
tant  words    or    clauses.     Note    especially    \lie 
subordination  of  the  third  line. 

GUILIELMUS   REX. 

The  folk  who  lived  in  Shakespeare's  day 
And  saw  that  gentle  figure  pass 
By  London  Bridge,  his  frequent  way  — 
They  little  knew  what  man  he  was. 

The  pointed  beard,  the  courteous  mien, 
The  equal  port  to  high  and  low, 
All  this  they  saw  or  might  have  seen  — 
But  not  the  light  behind  the  brow  I 

The  doublet's  modest  gray  or  brown, 
The  slender  sword-hilt's  plain  device. 
What  sign  had  these  for  prince  or  clown? 
Few  turned,  or  none,  to  scan  him  twice. 

Yet  't  was  the  king  of  England's  kings ! 
The  rest  with  all  their  pomps  and  trains 
Are  mouldered,  half-remembered  things  — 
*T  is  he  alone  that  lives  and  reigns  I 

THOMAS   BAILEY  ALDRICH. 

One  of  the  greatest  faults  to  be  avoided  is  a  dropping 
downward  upon  the  emphatic  word,  rather  than  using 
a  rising  interval.  This  always  interferes  with  the 
length  and  saliency  of  falling  inflexions. 

It  is  well,  in  the  development  of  the  union  of  inter- 
vals and  inflexions,  to  practise  an  emphatic  sentence 
accentuating  its  form. 

An  interval  may,  of  itself,  be  made  a  means  of 
emphasis  by  giving  successive  clauses  in  entirely  dif- 
ferent parts  of  the  voice.  This  indicates  unusual  dis- 
crimination, excitement,  and  earnestness. 

Observe  in  some  excited  or  eloquent  passage,  or  great 
oration,  the  necessity  of  greatly  extending  the  range  of  the 
voice.  Perceive  that  not  only  are  the  pauses  lengthened, 
the  touches  intensified,  and  the  emphatic  inflexions  pro- 
longed, but  that  wide  intervals  are  especially  necessary 


MODES    OF    EMPHASIS  II5 

for  greater  subordination  of  unemphatic  words,  and  even 
for  parts  of  unemphatic  clauses. 

Render  the  following  extract,  realizing  its  earn-   ^q^ 
estness  and  intensity. 

No  man  can  accomplish  that  which  benefits  the  ages  and  not 
suffer.  Discoverers  do  not  reap  the  fruit  of  what  they  discover. 
Reformers  are  pelted  and  beaten.  Men  who  think  in  advance 
of  their  time  are  persecuted.  They  who  lead  the  flock  must  fight 
the  wolf. 

BEECHER. 

Inspiring  auspices,  this  day,  surround  us  and  cheer  us.  It 
is  the  anniversary  of  the  birth  of  Washington.  We  should  know 
this,  even  if  we  had  lost  our  calendars,  for  we  should  be  reminded 
of  it  by  the  shouts  of  joy  and  gladness.  The  whole  atmosphere 
is  redolent  of  his  name ;  hills  and  forests,  rocks  and  rivers,  echo 
and  re-echo  his  praises.  All  the  good,  whether  learned,  or 
unlearned,  high  or  low,  rich  or  poor,  feel,  this  day,  that  there  is 
one  treasure  common  to  them  all,  and  that  is  the  fame  and 
character  of  Washington.  They  recount  his  deeds,  ponder 
over  his  principles  and  teachings,  and  resolve  to  be  more  and 
more  guided  by  them  in  the  future. 

To  the  old  and  the  young,  to  all  born  in  the  land,  and  to  all 
whose  love  of  liberty  has  brought  them  from  foreign  shores  to 
make  this  the  home  of  their  adoption,  the  name  of  Washington 
is  this  day  an  exhilarating  theme.  Americans  by  birth  are 
proud  of  his  character,  and  exiles  from  foreign  shores  are  eager 
to  participate  in  admiration  of  him;  and  it  is  true  that  he  is, 
this  day,  here,  everywhere,  all  the  world  over,  more  an  object  of 
love  and  regard  than  on  any  day  since  his  birth. 

WEBSTER. 

3.  Rhythmic  Emphasis.  Inflexion  is  the  most  in- 
tellectual or  logical  agent  of  delivery.  Change  of 
pitch  expresses  discriminative  action  of  the  mind.  The 
combination  of  inflexion  and  change  of  pitch  form  the 
chief  element  in  appealing  to  the  thought  of  another 
mind,  or  in  making  a  passage  clear  by  accentuating  its 
fundamental  or  central  ideas. 

There  may  be  distinguished,  however,  another  method 
of  emphasis,  consisting  in  the  greater  prolongation  of 
pause  and  the  consequent  increase  of  the  touch.  This 
is  an  accentuation  of  rhythm  and  may  be  termed 
Rhythmic  Emphasis. 


Il6  FOUNDATIONS    OF   EXPRESSION 

Rhythmic  emphasis  implies  great  intensity  of  feeling. 
It  suggests  the  movement  of  vivid  impressions  which 
are  intensely  felt. 

To  increase  the  length  of  the  inflexion  and  the  con- 
versational   form    in    rendering    the    following    .^„ 
would   make   the   lines   coldly   logical.     Express 
the  deep  intensity  and  throb  of  passion  by  prolonging 
the  pauses  and  increasing  the  vigor  of  the  successive 
touches. 

Ride  on,  ride  on,  triumphantly, 

Thou  glorious  will,  ride  on! 
Faith's  pilgrim  sons  behind  thee  take 

The  road  that  thou  hast  gone. 
Ride  onl  ride  on  in  majesty! 

In  lowly  pomp  ride  on  to  die. 

FREDERICK  WILLIAM    FABER. 

Emphasis  by  means  of  inflexion  and  intervals,  or 
the  extension  of  form,  accentuates  the  logical  relations 
of  ideas.  Rhythmic  emphasis  expresses  the  intense 
fervor  and  deep  continuous  flow  of  passion. 

Contrast  the  two  methods  by  rendering  the  following 
passages.     Which  should  have  the  most  rhythm      _  . 
emphasis?     Which  needs  most  the  emphasis  of 
form  and  range?    Which  most  needs  both? 

In  His  will  is  our  peace. 

DANTE. 

Though  the  enemy  seem  far  away,  though  the  wave  be  still 
and  clear,  the  good  warrior  is  ever  on  the  watch,  the  faithful 
pilot  sleeps  not;  even  in  peace  and  in  calm  he  prepares  his  arms, 
trims  his  sail,  ready  to  sustain  the  shock  of  battle,  the  fury  of 
the  storm. 

METASTASIO 

I  go  to  prove  my  soul  1 
I  see  my  way  as  birds  their  trackless  way. 
I  shall  arrive !     What  time,  what  circuit  first, 
I  ask  not;  but  unless  God  send  His  hail 
Or  blinding  fireballs,  sleet  or  stifling  snow, 
In  some  time.  His  good  time,  I  shall  arrive; 
He  guides  me  and  the  bird.     In  His  good  time. 

BROWNINa. 


MODES    OF    EMPHASIS 


117 


Speak  to  Him  thou,  for  He  hears,  and  Spirit  with  Spirit  can  meet  — 
Closer  is  He  than  breathing,  and  nearer  than  hands  and  feet. 

TENNYSON. 

WILLIAM    BLAKE. 

He  came  to  the  desert  of  London  Town, 

Grey  miles  long; 
He  wandered  up  and  he  wandered  down, 

Singing  a  quiet  song. 

He  came  to  the  desert  of  London  Town, 

Mirk  miles  broad; 
He  wandered  up  and  he  wandered  down, 

Ever  alone  with  God. 

There  were  thousands  and  thousands  of  human  kind 

In  that  desert  of  brick  and  stone; 
But  some  were  deaf  and  some  were  blind, 

And  he  was  there  alone. 

At  length  the  good  hour  came ;  he  died 

As  he  had  lived,  alone ; 
He  was  not  missed  from  the  desert  wide, 

Perhaps  he  was  found  at  the  Throne. 

THOMPSON. 

Speak  upon  some  important  subject  and  accentuate 
the  rhythmic  pulsation  of  the  ideas.    Speak  upon    .._ 
the   same  subject   or   paraphrase  the  following, 
and  emphasize  by  the  extension  of  conversational  form. 

THE    LARCH    AND    THE    OAK. 

*'  What  is  the  use  of  thee,  thou  gnarled  sapling?  "  said  a 
young  larch-tree  to  a  young  oak.  "  I  grow  three  feet  in  a  year, 
thou  scarcely  so  many  inches;  I  am  straight  and  taper  as 
a  reed,  thou  straggling  and  twisted  as  a  loosened  withe.''  — 
"And  thy  duration,"  answered  the  oak,  "is  some  third  part 
of  a  man's  life  and  i  am  appointed  to  flourish  for  a  thousand 
years.  Thou  art  felled  and  sawed  into  paling,  where  thou  rottest 
and  art  burned  with  a  single  summer ;  of  me  are  fashioned  battle- 
ships, and  I  carry  mariners  and  heroes  into  unknown  seas." 

The  richer  a  nature,  the  harder  and  slower  its  development. 
Two  bojrs  were  once  of  a  class  in  the  Edinburgh  grammar  school. 
John  ever  trim,  precise,  and  dux;  Walter  ever  slovenly,  con- 
fused and  dolt.  In  due  time,  John  became  Baillie  John  of 
Hunter-Square,  and  Walter  became  Sir  Walter  Scott  of  the 
Universe. 

The  quickest  and  completest  of  all  vegetables  is  the  cabbage. 

TUOM.AS   CAkLYLE. 


Il8  FOUNDATIONS   OF   EXPRESSION 

4.  Emphatic  Pause.  While  inflexional  and  rh3rtlmiic 
emphasis  are  different  in  meaning  they  are  not  antagon- 
istic, but  may  be  united.  The  chief  means  of  co-ordinat- 
ing them  is  the  emphatic  pause.  This  generally  follows 
the  emphatic  word,  though  it  may  precede  it,  and  may 
also  occur  in  the  very  middle  of  a  phrase. 

The  emphatic  pause  differs  from  the  regular  pause 
preparatory  to  speech,  which  in  alternation  with  touch 
constitutes  the  chief  element  of  rhythm,  in  that  it  denotes 
the  staying  of  attention.  It  seems  to  hold  an  idea  a 
long  time  for  the  sake  of  its  realization,  not  so  much 
by  the  speaker  as  by  the  listener. 

The  emphatic  pause  is  considered  the  strongest  method 
of  emphasis.  It  does  not  interfere  with  inflexion  or  form. 
In  fact,  it  extends  the  form,  coming  as  it  does,  immed- 
iately after  the  emphatic  inflexion  in  direct  union  with 
the  emphatic  intervals,  and  thus  adds  greatly  to  the 
intensity  of  the  emphasis.  It  also  accentuates  rhythm ; 
in  fact,  it  increases  and  brings  into  unity  both  form  and 
rhythm.  The  highest  and  sublimest  emphasis  must  be 
such  a  co-ordination  of  rhythm  and  form.  Form  gives 
intellectual  clearness;  rhythm  expresses  intensity;  and 
the  co-ordination  of  both  expresses  the  greatest  weight 
and  dignity. 

The  student  should  render  some  very  emphatic  passage 
and  intensify  both  the  thought  and  feeling,  and  increase 
both  the  rhythm  and  the  range.  Give  the  follow-  ^^g 
ing  lines  from  Lowell,  observing  carefully  the  ex- 
treme antithesis  and  intense  earnestness  of  the  passage. 
Observe  that  the  word  "  heaven  "  needs  stronger  empha- 
sis than  all  that  precedes.  At  this  point  the  intensity 
must  gradually  increase,  the  rhythm  become  much 
slower,  the  inflexions  longer,  and  both  form  and  rhythm 
more  stately  and  dignified.  Observe  the  strong  empha- 
sis upon  "  God,"  which  makes  all  clear,  with  a  long 
emphatic  pause  after  it.    The  two  lines  where  these 


MODES   OF   EMPHASIS  Xig 

words  occur  must  be  given  sufficient  weight  to  over- 
balance the  preceding  lines. 

At  the  devil's  booth  all  things  are  sold, 
Each  ounce  of  dross  costs  its  ounce  of  gold; 

For  a  cap  and  bells  our  lives  we  pay, 
Bubbles  we  buy  with  a  whole  soul's  tasking; 

Tis  heaven  alone  that  is  given  away, 
Tis  only  God  may  be  had  for  the  asking. 

••Visionof  SirLaunfal,"  JAMES   RUSSELL  LOWELL 

Speak  upon  some   important   topic   and   emphasize 
the  important  points  both  by  long  inflexions  and    -  q„ 
emphatic  pauses. 

Speak  upon  some  subject  and  emphasize  in  different 
ways,    by    loudness,    by    range    and    form,   by    ^^^ 
variation  and  by  co-ordination  of   all  the  ele- 
ments of  expression. 

THE   VICTORY. 

Strong  Son  of  God,  immortal  Love, 

Whom  we,  that  have  not  seen  thy  face, 
By  faith,  and  faith  alone,  embrace, 

Believing  where  we  cannot  prove; 

Thine  are  these  orbs  of  light  and  shade; 

Thou  madest  life  in  man  and  brute; 

Thou  madest  Death ;  and  lo,  thy  foot 
Is  on  the  skull  which  thou  hast  made. 

Thou  wilt  not  leave  us  in  the  dust: 

Thou  madest  man,  he  knows  not  why; 
He  thinks  he  was  not  made  to  die; 

And  thou  hast  made  him:  thou  ari  Jusc 

Thou  seemest  human  and  divine. 
The  highest,  holiest  manhood,  thou; 
Our  wills  are  ours,  we  know  not  how; 

Our  wills  are  ours,  to  make  them  thine- 

Our  little  systems  have  their  day; 

They  have  their  day  and  cease  to  be; 

They  are  but  broken  lights  of  thee. 
And  thou,  O  Lord,  art  more  than  they 


I20  FOUNDATIONS   OF   EXPRESSION 

We  have  but  faith :  we  cannot  know; 

For  knowledge  is  of  things  we  see; 

And  yet  we  trust  it  comes  from  thee, 
A  beam  in  darkness :  let  it  grow. 

Let  knowledge  grow  from  more  to  more, 

But  more  of  reverence  in  us  dwell ; 

That  mind  and  soul  according  well, 
May  make  one  music  as  before, 

But  vaster.     We  are  fools  and  slight; 

We  mock  thee  when  we  do  not  fear: 

But  help  thy  foolish  ones  to  bear ; 
Help  thy  vain  worlds  to  bear  thy  light. 

latroduction  to  "  In  Memoriam."  TENNYSON. 

Give  strong  passages  with  great  earnestness,  intensi- 
fying both  the  thought  and  the  feeHng  and  accentuat- 
ing all  the  natural  modulations  of  the  voice.  ^^^ 
Lengthen  the  inflexions  upon  the  central  words; 
use  great  changes  of  pitch ;  lengthen  the  pauses ;  increase 
the  vigor  of  each  successive  touch;  and  accentuate  by 
form  and  rhythm. 

THE   BACK-GROUND    OF   MYSTERY. 

Our  conception  of  what  is  true  may  not  be  so  large  as  the 
whole  truth  and  not  so  fine  as  the  highest  truth,  but  it  differs 
from  the  conception  of  truth  in  its  fullest  and  most  perfect  form 
only  as  the  taper  differs  from  the  sun.  The  difference  is  not  in 
quality  but  in  degree  or  extent.  No  man  would  hold  a  candle  out 
of  the  window  and  say  that  it  was  sunrise;  nevertheless,  the  fire 
in  the  candle  and  the  fire  in  the  sun  are  the  same  in  their  essential 
nature,  though  they  are  not  the  same  in  magnitude  nor  the  same 
in  power  of  heat  or  illtunination. 

The  same  is  true  in  regard  to  the  divine  nature.  Here  is  the 
foundation,  and  the  only  foundation  for  understanding  the 
teaching  of  God  in  man  or  human  life.  This,  of  course,  is  sub- 
ject to  the  perpetual  correction  which  lies  in  a  thought,  and  while 
•we  have  the  elementary  faculties  and  feelings  which  define  for 
us  the  divine  nature,  these  same  feelings  and  faculties  exist  in 
God  in  such  variety,  such  scope,  such  combination,  and  they  act 
after  methods  that  so  transcend  their  action  when  limited  to  an 
organization  of  the  flesh  that  there  is  always  a  vast  background 
of  mjrstery  beyond  them.  We  know,  as  it  were,  the  alphabet  of 
the  divine  nature,  but  the  library,  the  learning,  the  literature, 
of  the  divine  nature  we  do  not  know.    We  strike  the  elemental 


MODES   OF   EMPHASIS  121 

forms  of  the  nature  of  God  and  gain  some  definite  conception 
of  what  is  mercy,  of  what  is  gentleness,  what  is  love.  When  we 
have  gained  this  conception  we  have  only  gained  so  large  a  con- 
ception as  is  possible  to  the  limited  operation  of  these  elements 
in  human  conditions ;  but  God  is  free  from  such  conditions.  He 
stands  above  them  and  beyond  them,  and  in  Him  these  qualities 
take  on  form  so  large  and  so  intense  that  after  all,  the  background 
of  every  one  of  our  thoughts  in  respect  to  the  nature  of  God, 
and  the  divine  moral  government,  is  simply  untraceable  by 
human  imagination  or  thought. 

■*  Background  of  Mystery."  BEECUER 

THE    VANDALS. 

Down  beyond  the  garden  wall. 

They  have  cut  down  the  maple-tree; 

But  they  who  cut  it  cannot  know 
The  loss  to  you  and  me. 

They  think  to  build  themselves  a  house 

Where  long  our  tree  has  stood,  — 
Our  tree  that  was  a  house  of  leaves, 

Fairer  than  house  of  wood. 

Will  they  see  the  wondrous  sights  we  saw, 
From  their  windows  made  of  glass? 

The  winged  clouds,  the  marching  sun, 
The  shadow-ships  that  pass? 

We  saw  the  Spring  come  up  the  land, 

The  Autumn's  flags  flung;  out; 
We  felt  the  South  Wind  kios  our  hair, 

And  answered  the  West  Wind's  shout. 

Their  house  of  wood  will  higher  be 

Than  our  tree-house  in  the  air; 
Yet  they  will  not  live  so  near  the  sky. 
Nor  see  what  we  saw  there  I 
SVom  yr.  Nkholas.  LUCY  L.  CABLR 

HISTORY. 

First  one  cause  and  then  another  has  interfered  from  the 
beginning  of  time  with  a  correct  and  authentic  chronicling  of 
events  and  actions.  Superstition,  hero-worship,  ignorance  of 
the  laws  of  probability,  religious,  political,  or  speculative  prej- 
udice, —  one  or  other  of  these  has  tended  from  the  beginning 
to  give  us  distorted  pictures. 

The  most  perfect  English  history  which  exists  is  to  be  found, 
in  my  opinion,  in  the  historical  plays  of  Shakespeare.  In  these 
plays,  rich  as  they  are  in  fancy  and  imagination,  the  main 
bearings  of  the  national  story  are  scrupulously  adhered  to,  and, 
▼henever  attainable,  with   verbal  correctness.    Shakespeare's 


122  FOUNDATIONS    OF    EXPRESSION 

object  was  to  exhibit  as  faithfully  as  he  possibly  could  the  exact 
character  of  the  great  actors  in  the  national  drama,  the  circiun- 
stances  which  attended  them,  and  the  motives,  internal  and 
external,  by  which  they  were  influenced. 

Shakespeare's  attitude  towards  human  life  will  become  again 
attainable  to  us  only  when  intelligent  people  can  return  to  an 
agreement  on  first  principles ;  when  the  common  sense  of  the 
wisest  and  best  among  us  has  superseded  the  theorizing  of  parties 
and  factions;  when  the  few  but  all-important  truths  of  our 
moral  condition,  which  can  be  certainly  known,  have  become 
the  exclusive  rule  of  our  judgments  and  actions. 

FROUDE. 

There  is  May  in  books  forever ; 
May  will  part  from  Spenser  never ; 
May's  in  Milton,  May's  in  Prior, 
May's  in  Chaucer,  Thomson,  Dyer; 
May's  in  all  the  Italian  books :  — 
She  has  old  and  modern  nooks. 
Where  she  sleeps  with  nymphs  and  elves, 
In  happy  places  they  call  shelves. 
And  will  rise  and  dress  your  rooms 
With  a  drapery  thick  with  blooms. 
Come,  ye  rains,  then  if  ye  will, 
May's  at  home,  and  with  me  still; 
But  come  rather,  thou,  good  weather, 
And  find  us  in  the  fields  together. 

LEIGH  HUNT. 

Conversational  Form  is  the  method  adopted  in 
common  speech  of  making  saHent  the  central  idea  and 
subordinating  the  secondary  ideas. 

Emphasis  of  Form  or  Melody  is  intellectual  and 
logical,  and  reveals  the  central  ideas  by  modulations  of 
inflexion  and  change  of  pitch. 

Emphasis  by  Pulsations  or  Rhythm  is  caused 
by  the  increase  of  the  vigor  of  the  touches  upon  the 
successive  centres  of  attention. 

The  Emphatic  Pause  is  a  period  of  silence  usually 
introduced  after  the  emphatic  word,  but  occasionally 
before  it,  without  interfering  with  the  conversational 
form.  It  is  the  chief  means  of  accentuating  the  inten- 
sity and  force  of  passion  expressed  by  rhythmic  pulsa- 
tions, and  the  logical  relation  of  successive  impressions 
as  revealed  by  conversational  form. 


X. 

AGILITY  OF  VOICE. 

If  the  voice  is  to  suggest  the  central  idea  in  each 
phrase,  and  the  relative  value  of  ideas  in  the  whole  para- 
graph together  with  various  degrees  of  emphasis,  its 
normal  range  and  greatest  possible  agility  must  be 
developed.  The  constant  changes  of  pitch,  the  perpet- 
ual variation,  not  only  in  the  direction,  but  in  the  length 
and  the  abruptness  of  inflexion,  require  a  flexible  voice. 

One  of  the  worst  faults  in  the  use  of  the  voice  is  mono-^ 
tony,  and  while  this  is  primarily  caused  by  a  lack  of 
definite  discrimination  between  ideas  and  of  genuine 
conviction,  still,  the  voice  is  often  rigid  and  unrespon- 
sive from  other  causes;  and  even  though  this  inflexible 
condition  may  be  caused  by  faulty  thinking,  yet  with 
this  fault  corrected,  the  voice  may  not  immediately 
respond,  because  there  remain  the  effects  of  long  habits, 
of  years  of  constriction  and  misuse,  so  that  especial 
work  is  needed  to  give  the  right  agility  to  the  voice  itself. 

There  are  two  kinds  of  flexibility:  one  of  which 
refers  to  skill  in  giving  all  the  expressive  modulations. 
This  is  agility  in  execution.  "  Every  art  must  be  pre- 
ceded," said  Goethe,  "  by  a  certain  mechanical  expert- 
ness."  The  voice  must  be  trained  to  expertness  in  mak- 
ing an  inflexion,  in  giving  a  decided  touch,  in  changing 
the  pitch,  and  in  producing  all  the  expressive  modula- 
tions of  the  voice.  This  implies  that  the  voice,  as  an 
organ,  is  itself  normal  and  capable  of  great  variability. 

The  second  form  of  flexibihty  is  akin  to  this,  but  more 
organic.  It  is  concerned  in  developing  the  flexibility 
of  the  voice  itself,  in  removing  constrictions,  correcting 
its  faults,  especially  rigidity  or  stiffness,  and  in  preparing 
it  for  the  production  of  the  modulations.    The  first  kind 

123 


124  FOUNDATIONS   OF   EXPRESSION 

of  flexibility  is  like  learning  to  play  on  a  piano ;  the  second 
is  analogous  to  the  tuning  of  the  instrument  itself. 

While  these  must  be  distinguished  from  each  other, 
still  they  are  acquired  more  or  less  together,  and  fre- 
quently the  best  exercise  for  developing  the  organic  agil- 
ity of  the  voice  is  the  mastery  of  some  such  technical 
modulation  as  touch  or  inflexion.  The  training  of  the 
voice  must  necessarily  be  connected  with  the  mastery 
of  its  expressive  modulations.  Where  a  voice,  however, 
is  abnormal,  constricted,  and  muscular,  certain  funda- 
mental training  is  needful  before  technical  modulations 
can  be  improved. 

I.  The  Training  OF  THE  Ear.  Skill  in  the  use  of  the 
voice  demands  a  good  ear.  The  ear  must  be  trained  to 
detect  quickly  every  variation.  Speakers  with  poor 
inflexions  and  little  change  of  pitch,  will  be  found  in 
nearly  every  instance  to  have  dull  ears. 

Many  think  that  a  good  ear  is  bom  with  one  and  can- 
not be  developed.  This  is  a  mistake.  Every  sense  can 
be  improved  by  education,  and  the  sense  of  hearing  is 
possibly  more  capable  of  education  than  any  other.  A 
few  simple  exercises,  a  little  persevering  practice,  will 
direct  the  mind  so  that  it  will  use  the  ear  to  detect  the 
slightest  change  in  pitch  or  other  voice  modulation. 
The  training,  of  course,  is  a  mental  one ;  the  ear  may  be 
all  right,  but  since  attention  has  not  been  trained  to 
use  the  auditory  nerve,  the  mind  may  be  unaware  of 
changes  in  the  modulations  of  the  voice. 

Exercises  are  needed  to  call  forth  attention  through 
the  ear.  Make  a  long  mark,  gradually  sloping  upward, 
across  a  blackboard  or  sheet  of  paper,  repre- 
senting a  rising  inflexion.  Begin  then  at  the  ^^^ 
upper  portion  of  the  board  and  slope  gradually  down- 
ward in  opposition  to  the  other  mark.  The  student 
should  follow  the  marks  with  his  voice,  first  giving  a 
long,  slow  rise,  and   in   contrast,  a  long,  slow  falling 


AGILITY    OF    VOICE 


125 


inflexion.  The  poorest  ear  may  be  led  in  this  way  to  dis- 
tinguish between  a  rising  and  a  falling  inflexion.  The 
inflexions  should  be  made  gradually  shorter  and  more 
abrupt  in  order  to  drill  the  ear  in  detecting  the  slightest 
change.  Other  marks  indicating  different  degrees  of 
length,  abruptness  or  straightness  of  inflexion  or  even 
change  of  pitch  can  also  be  used. 

As  the  next  step,  let  the  teacher  give  a  great  variety  of 
inflexions  and  different  pitches,  and  let  the  student 
instantly  repeat  them. 

As  a  third  step  the  student  may  mark  upon  slips  of 
paper  various  changes  in  the  inflexions  and  intervals  of 
his  own  voice  and  those  of  others.  This  exercise  may 
be  made  extremely  difl^cult  or  very  easy.  It  should  be 
adapted  to  the  advancement  of  the  student,  but  should 
constantly  be  made  more  diflicult,  as  progress  will  gen- 
erally be  rapid. 

Another  step  is  through  music  and  singing,  or  exer- 
cises with  a  musical  instrument.  A  good  ear,  however, 
in  song,  does  not  always  imply  a  good  ear  in  speech. 
The  ear  needs  to  be  trained  for  both  speech  and  song. 

Can  you  render  a  poem  or  listen    to   someone    else 
giving   it   and  recognize   at   the   same   time  the   ^^- 
chief  changes  made  by  the  voice? 

A   LITTLE    PARABLE. 

I  made  the  cross  myself,  whose  weight 

Was  later  laid  on  me. 
This  thought  is  torture  as  I  toil 

Up  life's  steep  Calvary. 

To  think  mine  own  hands  drove  the  nails! 

I  sang  a  merry  song, 
And  chose  the  heaviest  wood  I  had 

To  build  it  firm  and  strong. 

If  I  had  guessed  —  if  I  had  dreamed 

Its  weight  was  meant  for  me, 
I  should  have  made  a  lighter  cross 

To  bear  up  Calvary  I 

ANNE   REEVE   ALDRICH 


126  FOUNDATIONS   OF   EXPRESSION 

It  is  strange  that  education  of  the  senses,  which 
should  be  one  of  the  first  steps  in  the  education  of  the 
child,  is  so  often  overlooked,  especially  the  training  of 
the  ear.  A  lack  of  ear  causes  a  great  loss  of  pleasure  to 
many  people.  No  one  who  perseveres  need  have  a  poor 
ear. 

An  animal  without  an  ear  is  voiceless.  Deaf  mutes 
often  have  beautiful  tones ;  it  is  lack  of  ear  that  prevents 
the  inflexional  and  other  modulations  of  their  voices. 

Ear  training  should  never  be  regarded  as  drudgery,  or 
something  aside  from  the  development  of  expression. 
It  may  be  made  a  pleasure. 

2.  Intervallic  Agility.  The  first  thing  to  secure 
is  agility  in  change  of  pitch.  Intervals  are  definite  and 
fixed  in  song  and  music.  They  are  free  in  speech,  yet  no 
less  wide.  Intervallic  agility  in  speech  is  dependent 
upon  a  certain  mental  flexibility.  Vividly  picture  indi- 
vidual ideas  and  discriminate  decidedly  in  passing  from 
one  to  another,  and  the  intervals  will  at  once  increase  in 
number  and  grow  wider  in  extent. 

Practise  simple  lyrics  separating  each  idea  and  phrase 
as  far  from    the  preceding    as    possible.     This 
will  not  decrease,  but  rather  increase   the  nat-   ^^^ 
uralness;  inflexions  may  be   very   long,  and  changes 
of  pitch  very  wide  yet  not  chaotic. 

What  ho,  my  jovial  mates !  come  on !  we'll  frolic  it 
Like  fairies  frisking  in  the  merry  moonshine ! 

SCOTT. 
Jog  on,  jog  on,  the  foot-path  way 

And  merrily  hent  the  stile-a; 
A  merry  heart  goes  all  the  day, 
Your  sad  tires  in  a  mile-a. 

"  Wintw's  Tale  " 

It  was  a  lover  and  his  lass, 
With  a  hey  and  a  ho,  and  a  hey-noninol 
That  o'er  the  green  cornfield  did  pass 
In  the  spring-time,  the  only  pretty  ring  time, 
When  birds  do  sing  hey-ding-a-ding ; 
Sweet  lovers  love  the  spring. 

SHAKESPEARE 


AGILITY   OF   VOICE  13^ 

flow  dear  to  this  heart  are  the  scenes  of  my  childhood, 

When  fond  recollection  presents  them  to  view  I 
The  orchard,  the  meadow,  the  deep-tangled  wildwood, 

And  every  loved  spot  that  my  infancy  knew;  — 
The  wide-spreading  pond,  and  the  mill  which  stood  by  it» 

The  bridge,  and  the  rock  where  the  cataract  t€H}\ 
The  cot  of  my  father,  the  dairy-house  nigh  it. 

And  e'en  the  rude  bucket  which  hung  in  the  well. 
The  old  oaken  bucket,  the  iron-bound  bucket, 

The  moss-covered  bucket  which  hung  in  the  well. 

•Old  Oaken  Bucket."  WOODWORTH. 

There's  one  great  bunch  of  stars  in  heaven 
That  shines  so  sturdily, 
Where  good  Saint  Peter's  sinewy  hand 
Holds  up  the  dull  gold-wroughten  key. 

And  also  there's  a  little  star 
So  white,  a  virgin's  it  must  be  — 
Perhaps  the  lamp  my  love  in  heaven 
Hangs  out  to  light  the  way  for  me. 

THEOPHILE   MARZIALS. 

3.  Inflexional  Agility.  An  inflexion  is  a  concrete 
interval,  that  is,  a  change  of  pitch  during  the  emission 
of  a  vowel.  The  various  modulations  of  inflexion  and 
their  meaning  have  already  been  explained. 

The  best  exercise  for  the  development  of  agiHty  in 
inflexion  is  the  practice  of  a  great  variety  of  passages, 
accentuating  both  intervals  and  inflexions,  endeavoring 
especially  to  make  the  latter  as  long  and  as  easy  as  pos- 
sible. The  practice  of  inflexions  as  a  means  of  estab- 
lishing the  primary  conditions  of  voice  is  very  essential. 

No  amount  of  voice  exercise  in  singing  will  improve 
inflexions.  Inflexion  is  never  found  in  song.  It  is 
peculiar  to  speech,  in  fact  the  most  fundamental  char- 
acteristic of  speech  as  distinguished  from  song,  and  so- 
called  **  unnaturalness  "  will  nearly  always  be  found 
to  be  a  fault  of  inflexion. 

There  are  many  forms  of  weakness  indicated  by  inflex- 
ions, such  as  minor  inflexions,  caused  by  lack  of 
courage,  lack  of  support  and  freedom. 


128  FOUNDATIONS   OF   EXPRESSION 

Intervallic  and  inflexional  agility  should  be  developed 
together.  They  are  always  found  together  in  speech, 
and  tb"  chief  exercises  should  be  in  connection  with 
vocal  expression  or  the  rendering  of  important,  though 
short  passages  of  literature. 

Practise  vowels  accentuating  the  fundamental  con- 
ditions with  the  greatest  possible  variety  of  in-   ^^^ 
flexions  and  all  possible  pitches  with  all  degrees 
of  length  and  abruptness,  definitely  rising  and  falling, 
but  as  straight  as  possible. 

To  develop  inflexional  agility,  arrange  a  list  of  very 
short    extracts    in    great    variety  and    practise 
these  with  the  primary  tone  conditions.     Make 
every  inflexion  as  definite  and  straight  as  possible. 

What  right  have  you,  O  passer  by  the  way,  to  call  any  flower  a 
weed?  Do  you  know  its  merits?  its  virtues?  its  healing  qualities? 
Becatise  a  thing  is  common,  shall  you  despise  it?  If  so,  you 
might  despise  the  sunshine  for  the  same  reason. 

"  Halt  I  "  —  the  dust-brown  ranks  stood  fast ; 
"  Firel  "  —  out  blazed  the  rifle-blast. 

WHITTIER. 

Where  there  is  love  in  the  heart  there  are  rainbows  in  the 
eyes  which  cover  every  black  cloud  with  gorgeous  hues. 

BEECHER 

Who  is  it  will  not  dare  himself  to  trust? 

Who  is  it  hath  not  strength  to  stand  alone? 
Who  is  it  thwarts  and  bilks  the  inward  must? 

He  and  his  works,  like  sand,  from  earth  are  blown. 

LOWELL. 

What  a  man  is  irresistibly  urged  to  say,  helps  him  and  us. 
In  explaining  his  thought  to  others,  he  explains  it  to  himself; 
but  when  he  opens  it  for  show,  it  corrupts  him. 

*•  Essay  on  Behavior."  EMERSON 

Hence  1  home,  you  idle  creatures  I  get  you  home ! 

Truth  is  always  congruous,  and  agrees  with  itself;  every 
truth  in  the  universe  agrees  with  every  other  truth  in  the  uni- 
verse; whereas  falsehoods  not  only  disagree  with  truth  but 
usually  quarrel  among  themselves. 

DANIEL  WEBSTER 


AGILITY   OF   VOICE 


129 


If  ye  are  brutes,  then  stand  here  like  fat  oxen  waiting  for  the 
butcher's  knife ;  if  ye  are  men,  follow  me  1  strike  down  yon 
sentinel,  and  gain  the  mountain-passes,  and  there  do  bloody 
work  as  did  your  sires  at  old  Thermopylae! 

We  are  awkward  for  want  of  thought.  The  inspiration  is 
gcanty,  and  does  not  arrive  at  the  extremities. 

EMERSON 


Brutus. 
Cassius. 
Brutus. 
Cassius. 

Brutus. 

Cassius. 

BnUus. 


Cassius. 
Brutus. 
Cassius. 
Brutus. 
Cassius. 
Brutus. 
'  Jaliut  Osar, 


Go  to ;  you  are  not  Cassius. 

I  am. 
I  say  you  are  not. 

Urge  me   no  more,  I  shall   forget    myself; 

Have  mind  upon  your  health,  tempt  me  no  further. 
Away,  slight  manl 

Is't  possible? 

Hear  me,  for  I  will  speak. 

Must  I  give   way  and  room  to  your  rash  choler? 

Shall  I  be  frighted  when  a  madman  stares?  .  .  . 

When  Caesar  liv'd  he  durst  not  thus  have  mov'd  me. 
Peace,  peace  1  you  durst  not  so  have  tempted  him. 
I  durst  not? 
No. 

What  I  durst  not  tempt  him? 
For  yoixr  life  you  duist  not. 

"  SHAKESPEARE. 


THE    CONVENTION   OF   FRANCE,    1789. 

I  hear  much  said  of  patriotism,  appeals  to  patriotism,  trans- 
ports of  patriotism.  Gentlemen,  why  prostitute  this  noble 
word?  Is  it  so  very  magnanimous  to  give  up  a  part  of  your 
income  in  order  to  save  your  whole  property  ?  This  is  very 
simple  arithmetic;  and  he  that  hesitates,  deserves  contempt 
rather  than  indignation. 

Yes,  gentlemen,  it  is  to  your  immediate  self-interest,  to  your 
most  familiar  notions  of  prudence  and  policy,  that  I  now  appeal. 
I  say  not  to  you  now,  as  heretofore,  beware  how  you  give  the 
world  the  first  example  of  an  assembled  nation  untrue  to  the 
public  faith.  I  ask  you  not,  as  heretofore,  what  right  you  have 
to  freedom,  or  what  means  of  maintaining  it,  if,  at  your  first 
step  in  administration,  you  outdo  in  baseness  all  the  old  and 
corrupt  governments.  I  tell  you,  that  unless  you  prevent  this 
catastrophe,  you  will  all  be  involved  in  the  general  ruin;  and 
that  you  are  yourselves  the  persons  most  deeply  interested  in 
making  the  sacrifices  which  the  government  demands  of  you. 

I  exhort  you,  then,  most  earnestly,  to  vote  these  extraordinary 
supplies;  and  God  grant  they  may  prove  sufficient!  Vote  them, 
I  beseech  you;  for,  even  if  you  doubt  the  expediency  of  the 


130  FOUNDATIONS    OF    EXPRESSIOH 

means,  you  know  perfectly  well  that  the  supplies  are  necessary, 
and  that  you  are  incapable  of  raising  them  in  any  other  way. 
Vote  them  at  once,  for  the  crisis  does  not  admit  of  delays 
and,  if  it  occurs,  we  must  be  responsible  for  the  consequences. 

Beware  of  asking  for  time.  Misfortune  accords  it  never. 
While  you  are  lingering,  the  evil  day  will  come  upon  you. 
Why,  gentlemen,  it  is  but  a  few  days  since,  that  upon  occasion  of 
some  foolish  bustle  in  the  Palais  Royal,  some  ridiculous  insvu:- 
rection  that  existed  nowhere  but  in  the  heads  of  a  few  weak 
or  designing  individuals,  we  were  told  with  emphasis,  "  Catiline 
is  at  the  gates  of  Rome,  and  yet  we  deliberate."  We  know, 
gentlemen,  that  this  was  all  imagination.  We  are  far  from 
being  at  Rome ;  nor  is  there  any  Catiline  at  the  gates  of  Paris. 
But  now  are  we  threatened  with  a  real  danger:  bankruptcy, 
national  bankruptcy,  is  before  you;  it  threatens  to  swallow 
up  your  persons,  your  property,  yovur  honor,  —  and  yet  you 
deliberate. 

MIRABEAU. 

UNEXPRESSED. 

He  had  words  or  smiles  for  them  all. 
His  friends,  his  foes  and  —  the  rest; 

But  for  one  that  he  loved,  no  word. 
No  smile,  not  a  cool  hand  pressed, 
Nor  a  sigh :  but  an  empty  jest. 

Yet  there  at  the  hearth  of  his  heart 

The  fire  burned,  warm  and  wide. 
While  the  welcome  upon  his  lips. 

For  the  guest  who  did  not  abide. 

Stammered,  and  sobbed,  and  died. 

LOUISE   MORGAN  SILL. 

4.  Range  of  Voice.  Change  of  pitch  and  inflexion 
are  most  intimately  connected.  They  constitute  form. 
Their  union  also  constitutes  range  of  voice.  The  wide 
intervals  between  phrases  and  clauses  and  the  length  of 
the  inflexions  are  the  chief  elements  in  range. 

One  of  the  abnormal  tendencies  of  energy  and  earnest- 
ness is  to  get  upon  a  high  pitch.  The  real  fault  is  same- 
ness of  pitch,  and  the  remedy  is  not  to  speak  on  a  lower 
pitch  but  on  the  greatest  nimiber  of  pitches.  Range  is 
the  true  language  of  earnestness.  It  indicates  freedom 
and  the  right  use  of  the  voice,  self-control,  reason,  and 
earnestness.     A  high  or  monotonous  pitch  on  the  con- 


AGILITY   OF    VOICE  13I 

trary,  with  a  push  or  swell  to  express  force,  indicates 
weakness. 

Render  passages  with  every  degree  of  emphasis,  and 
in  as  wide  a  range  as  possible,  by  giving  long 
inflexions,  and  accentuating  all  the  elements  of    ^^^ 
natural  vocal  form,  but  especially  by  making  extreme 
intervals  between  clauses. 

Give  us,  O  give  us,  the  man  who  sings  at  his  work  I  He  will 
do  more  in  the  same  time, —  he  will  do  it  better, —  he  will  perse- 
vere longer.  One  is  scarcely  sensible  of  fatigue  whilst  he  marches 
to  music.  The  very  stars  are  said  to  make  harmony  as  they  re- 
volve in  their  spheres.  Wondrous  is  the  strength  of  cheerfulness, 
altogether  past  calculation  its  powers  of  endurance.  Efforts,  to 
be  permanently  useful,  must  be  uniformly  joyous,  a  spirit  all 
sunshine,  graceful  from  very  gladness,  beautiful  because  bright. 

CARLYLE. 
BEFORE    SUNRISE   IN   WINTER. 

A  purple  cloud  hangs  half-way  down 

A  sky  all  gold  below ; 
The  naked  trees,  beyond  the  town. 

Like  masts  against  it  show,  — 
Before  masts  and  spars  of  our  earth-ship, 

With  shining  snow-sails  furled , 
And  through  the  sea  of  space  we  slip, 

That  flows  all  round  the  world. 

EDWARD  R    SILL. 

Let  our  object  be  our  country,  our  whole  country,  and  nothing 
but  our  country.  And,  by  the  blessing  of  God,  may  that  country 
itself  become  a  vast  and  splendid  monument,  not  of  oppression 
and  terror,  but  of  wisdom,  of  peace,  and  of  liberty,  upon  which 
the  world  may  gaze  with  admiration  forever  1 

DAN'IEL  WEBSTER. 

Came  the  relief,  "  What,  sentry,  hoi 

How  passed  the  night  through  thy  long  waking?  " 
"  Cold,  cheerless,  dark,  —  as  may  befit 

The  hour  before  the  dawn  is  breaking.'* 
"  No  sight.''  no  sound?  "     "  No;  nothing  save 

The  plover  from  the  marshes  calling. 
And  in  yon  western  sky,  about 

An  hour  ago,  a  star  was  falling." 
"  A  star?     There's  nothing  strange  in  that." 

"  No,  nothing;  but,  above  the  thicket. 
Somehow  it  seemed  to  me  that  God 

Somewhere  had  just  relieved  a  picket." 

BRET  HARTB^ 


132  FOUNDATIONS   OF   EXPRESSION 

Antony.      O  pardon  me,  thou  bleeding  piece  of  earth, 
That  I  am  meek  and  gentle  with  these  butchers  1 
Thou  art  the  ruins  of  the  noblest  man 
That  ever  lived  in  the  tide  of  times. 
Woe  to  the  hand  that  shed  this  costly  blood  I 
Over  thy  wounds  now  do  I  prophesy,  — 
Which,  like  dumb  mouths,  do  ope  their  ruby  lips, 
To  beg  the  voice  and  utterance  of  my  tongue,  — 
A  curse  shall  light  upon  the  limbs  of  men ; 
Domestic  fury  and  fierce  civil  strife 
Shall  cumber  all  the  parts  of  Italy ; 
Blood  and  destruction  shall  be  so  in  use, 
And  dreadful  objects  so  familiar, 
That  mothers  shall  but  smile  when  they  behold 
Their  infants  quarter'd  with  the  hands  of  war ; 
All  pity  choked  with  custom  of  fell  deeds : 
And  Caesar's  spirit,  ranging  for  revenge. 
With  Ate  by  his  side  come  hot  from  hell. 
Shall  in  these  confines  with  a  monarch's  voice 
Cry  "  Havoc,"  and  let  slip  the  dogs  of  war; 
That  this  foul  deed  shall  smell  above  the  earth 
With  carrion  men,  groaning  for  burial. 

"  Julius  Caesar."  SHAKESPEARE. 

In  the  last  lines  of  the  following,  each  clause  may 
be  given  on  very  different  keys  in  order  to  emphasize 
Brutus'  passion  and  excitement.  "  I'd  rather  be  . .  „ 
a  dog,"  may  be  given  in  the  middle,  the  next 
clause  in  the  highest  part  of  the  voice,  and  the  last  in 
the  lowest.  The  order,  however,  is  immaterial,  pro- 
vided each  clause  is  given  in  a  different  part  of  the 
voice. 

Brutus.     Remember  March,  the  ides  of  March  remember: 
Did  not  great  Julius  bleed  for  justice'  sake? 
What  villain  touch'd  his  body,  that  did  stab, 
And  not  for  justice?     What,  shall  one  of  us, 
That  struck  the  foremost  man  of  all  this  world 
But  for  supporting  robbers,  shall  we  now 
Contaminate  our  fingers  with  base  bribes, 
And  sell  the  mighty  space  of  our  large  honors 
For  so  much  trash  as  may  be  grasped  thus? 
I  had  rather  be  a  dog,  and  bay  the  moon, 
Than  such  a  Roman 

"  JoUu*  C«sar."  SHAKESPEARE. 


AGILITY   OF   VOICE  133 

This  variation  gives  great  weight  to  the  character  of 
Brutus.  The  wider  the  changes  of  pitch  and  range,  the 
greater  the  self-control.  Lack  of  control  over  passion 
is  shown  by  loudness,  hurry,  or  a  high,  unnatural  key. 
The  range  of  the  voice  or  emphasis  by  great  intervals 
between  clauses,  makes  the  thought  far  more  forceful. 
Greater  passion  is  also  suggested  than  can  be  intimated 
by  loudness,  and  with  it  great  dignity  and  self-command. 

This  passage  affords  an  illustration  of  the  necessity  of 
wide  changes  of  pitch  between  clauses  of  a  dignified 
character,  especially  when  the  person  speaking  is  much 
excited,  but  possesses  great  self-control.  The  inflex- 
ions are  straight  and  long,  and  the  touch  decided.  But 
the  intervals  may  be  apt  to  be  slighted.  If  the  passage 
be  read  with  loudness,  with  long  inflexions,  with  great 
stress,  and  then  with  variation  in  pitch,  the  skeptic 
will  at  once  be  convinced  that  extreme  changes  of  pitch 
emphasize  excited  thought  and  great  freedom  of  the 
mind  with  self-control. 

With  dignified  touch  and  straight  inflexions,  intervals 
are  the  most  helpful  exercises  to  secure  control  over  the 
voice,  as  they  relieve  the  constant  strain  and  cause 
recovery  of  the  breath  and  a  variation  in  the  length  of 
the  vocal  bands. 

LIFE. 

Life  is  not  living 

Just  for  to-day ; 
Life  is  not  dreaming 

All  the  short  way. 

To  live  is  to  do 

What  must  be  done; 
To  work  and  be  true, 

For  work  is  soon  done. 

rris  living  for  others, 

To  lighten  their  load; 
*Tis  helping  our  brothers 

And  trusting  in  God. 

JAMES   H.  HOADLEY 


134  FOUNDATIONS   OF   EXPRESSION 

I  do  not  mean  to  be  d'srespectful,  but  the  attempt  of  the 
Lords  to  stop  the  progress  of  reform  reminds  me  very  forcibly  of 
the  great  storm  of  Sidmouth,  and  of  the  conduct  of  the  excellent 
Mrs.  Partington  on  that  occasion.  In  the  winter  of  1824  there 
set  in  a  great  flood  upon  that  town  —  the  tide  rose  to  an  incredible 
height  —  the  waves  rushed  in  upon  the  houses  —  and  every- 
thing was  threatened  with  destruction.  In  the  midst  of  this 
sublime  storm,  Dame  Partington,  who  lived  upon  the  beach,  was 
seen  at  the  door  of  her  house  with  mop  and  pattens,  trundling 
her  mop,  and  squeezing  out  the  sea-water,  and  vigorously 
pushing  away  the  Atlantic.  The  Atlantic  was  roused.  Mrs, 
Partington's  spirit  was  up,  but  I  need  not  tell  you  that  the  con- 
test was  xmequal.  The  Altantic  Ocean  beat  Mrs.  Partington, 
She  was  excellent  at  a  slop  or  a  puddle,  but  she  should  not  have 
meddled  with  a  tempest.  Be  patient,  gentlemen  1  Rest  in 
confidence ;  you  will  beat  Mrs.  Partington. 

SYDNEY   SMITH. 

Tell  a  humorous  story  in  a  few  words,  suggesting  as 
much    as  possible    by    long    pauses    and    great   j-„ 
changes  of  pitch. 

Give  a  description,  tell  a  story,  or  speak  upon  some 
animated    subject,    accentuating,    as    much    as 
possible,  inflexions  and  changes  of  pitch. 

There  is  nothing  like  fun,  is  there?  I  haven't  any  myself, 
but  I  do  like  it  in  others.  O,  we  need  it!  We  need  all  the 
counterweights  we  can  muster  to  balance  the  sad  relations  of 
life.  God  has  made  sunny  spots  in  the  heart;  why  should  we 
exclude  the  light  from  them? 

Emphasize  in  some  short  speech  as  few  points   as 
possible.     Subordinate  all  accidental  parts    and 
accentuate   the   opposition    between   that  which 
is  made  salient  and  that  made  subordinate. 

Agility  is  the  power  of  the  voice  to  produce  instantly 
and  easily  all  variations  of  pitch  and  inflexion,  or  to 
change  the  length  of  the  vocal  bands  and  the  sound 
waves. 

Intervallic  Agility  is  facility  in  making  intervals 
or  changes  of  pitch  between  words  or  phrases. 

Inflexional  Agility  is  faciHty  in  producing  inflex- 
ions or  changes  of  pitch  during  the  emission  of  a  vowel. 


XI. 

SPONTANEOUS   ACTIONS   OF   THE   MIND    AND 
MODULATIONS   OF   THE   VOICE. 

In  the  study  of  the  mind's  action,  and  also  in  observ- 
ing voice  modulation  and  expression,  we  meet  with  cer- 
tain actions  which  are  deliberative,  conscious,  and  volun- 
tary, and  others  which  are  spontaneous  or  involuntary, 
and  at  times  unconscious.  For  example,  if  we  think  of 
a  flower,  the  mind  may  be  left  free  to  picture  the  kind 
of  flower;  and  even  if  the  color  or  size  is  mentioned, 
the  mind  will  still  add  other  elements  spontaneously. 

The  spontaneous  activities  of  the  mind  can  hardly 
be  enumerated,  and  they  are  often  necessarily  subcon- 
scious, yet  to  improve  the  deeper  elements  of  expression 
a  careful  study  of  them  is  necessary.  Not  only  do  the 
conscious  and  deliberative  elements  of  the  mind  usually 
receive  too  much  attention  and  exercise,  but  the  spon- 
taneous and  subconscious  energies  are  frequently  sup- 
pressed. Repression  is  one  of  the  greatest  dangers  of 
all  education,  and  work  in  expression  must  primarily 
remove  all  repression  and  give  freedom  to  the  life  of  the 
mind. 

When  we  observe  expressive  modulations  of  the  voice, 
we  find  that  some  of  these  are  more  deliberative  than 
others.  Touch,  for  example,  is  volitional ;  we  can  easily 
direct  our  energies.  We  can  give  a  touch  by  direct 
action  of  the  will.  The  same  is  true  of  inflexion,  but 
change  of  pitch  is  necessarily  more  spontaneous. 

While  we  can  make  ourselves  change  pitch,  and  while 
it  may  be  necessary  to  increase  voluntarily  such  a  change 
in  the  act  of  expression,  still  in  general,  change  of  pitch 
must  be  free.  Even  the  direction  of  the  interval  must  be 
more  free  than  the  direction  of  the  inflexion.     We  are 

us 


136  FOUITDATIONS    OF    EXPRESSION 

less  conscious  of  change  of  pitch  than  of  either  touch  or 
inflexion.  This  discrimination  must  not  be  overlooked. 
The  degree  of  consciousness  and  the  degree  of  delibera- 
tion may  be  increased,  but  those  actions  primarily 
intended  to  be  subconscious  and  involuntary  should 
remain  relatively  spontaneous  as  a  result  of  training. 
Otherwise  expression  will  be  mechanical. 

Other  elements  of  delivery,  such  as  modulations  of  the 
overtones  of  the  voice,  are  still  more  spontaneous,  and  it 
Y7ill  be  found  in  every  case  that  the  more  spontaneous 
modulations  of  the  voice  express  the  more  spontaneous 
actions  of  the  mind. 

The  first  step  in  developing  spontaneity  is  to  recognize 
the  difference  between  it  and  impulsiveness.  Impul- 
siveness is  simply  a  giving-up  to  any  tendency,  no 
matter  what. 

There  is  a  genuine  abandon  necessary  in  all  true, 
artistic  endeavor.  Even  in  the  practice  of  an  exercise, 
while  the  will  is  constantly  directed  to  the  performance 
of  a  single  action,  there  are  yet  united  with  this  necessary 
co-ordinations.  With  the  little  we  do  there  is  united  a 
great  deal  that  is  done  for  us.  These  spontaneous  co- 
ordinations are  fundamentally  necessary ;  without  them, 
training  of  any  kind  becomes  narrow  and  perfunctory. 
We  must  genuinely  live  each  idea,  and  give  up  to  those 
hidden  forces  of  life  which  are  deeper  than  will  or 
consciousness. 

Render  a  variety  of  passages,  especially  those  full  of 
animation,  and  Uve  each  idea  before  giving  it.  Be  sure 
that  the  realization  of  each  impression  is  complete 
and  full,  and  that  expression  is  its  direct  effect.  ^^" 
Be  sure  to  feel  not  the  whole  passage  but  rather  each 
specific  idea  in  succession.  Genuinely  think  and  let 
feeling  be  the  direct  response. 

Now  we  come  to  chant  our  lay, 
"Waken,  lords  and  ladies  gay." 

"  Hunter'*  Song.' '  SCOTT. 


SPONTANEOUS   ACTIONS  1 37 

Insects  generally  must  lead  a  jovial  life.  Think  what  it  must 
be  to  lodge  in  a  lily.  Imagine  a  palace  of  ivory  and  pearl, 
with  pillars  of  silver  and  capitols  of  gold,  and  exhaling  such  a 
perfume  as  never  arose  from  human  censer.  Fancy  again  the 
fun  of  tucking  one's  self  up  for  the  night  in  the  folds  of  a  rose, 
rocked  to  sleep  by  the  gentle  sighs  of  summer  air,  nothing  to  do 
when  you  awake  but  to  wash  yourself  in  a  dew-drop,  and  fall 
to  eating  your  bedclothes. 

NOT   KNOWN 

NATURE:    THE   ARTIST. 

Such  hints  as  untaught  Nature  yields !  — 

The  calm  disorder  of  the  sea. 
The  straggling  splendor  of  the  fields, 

The  wind's  gay  incivility. 

O  workman  with  your  conscious  plan, 
Compass  and  square  are  little  worth ; 

Copy  —  nay,  only  poets  can  — 
The  artless  masonry  of  earth. 

Go  watch  the  windy  spring's  carouse. 
And  mark  the  winter  wonders  grow,  — 

The  graceful  gracelessness  of  boughs, 
The  careless  carpentry  of  snow ! 

FREDERICK   LAWRENCE  KNOWLES. 

Freedom's  secret  wilt  thou  know  ?  — 
Counsel  not  with  flesh  and  blood ; 
Loiter  not  for  cloak  or  food ; 

Right  thou  feelest,  rush  to  go. 

Who  knows  himself  before  he  has  been  thrilled  with  indig- 
nation at  an  outrage,  or  has  heard  an  eloquent  tongue,  or  has 
shared  the  throb  of  thousands  in  a  national  exultation  or  alarm? 

EMERSON. 

Ye  sons  of  freedom,  wake  to  glory ! 

Hark!  hark!  what  myriads  bid  ye  rise! 
Your  children,  wives,  and  grandsires  hoary, 

Behold  their  tears  and  hear  their  cries. 
"The  Marseillaise."  ROUGET  DE  LISLE. 

Voluntary  Actions  are  those  produced  by  will; 
Involuntary,  those  that  result  independently  of  will. 

Conscious  Actions  are  those  elements  of  expression 
recognized  by  the  mind.  Unconscious,  subconscious,  or 
superconscious  actions  are  those  not  recognized  in  the 


138  FOUWDATIONS    OF    EXPRESSIOW 

field  of  attention.  An  action  may  be  involuntary  and 
yet  be  conscious. 

Spontaneity  is  the  operation  of  involuntary  action. 

Artistic  spontaneity  is  the  harmonious  union  of 
involuntary  action  with  voluntary  and  conscious  actions. 

Spontaneous  actions  may  be  regulated  or  awakened 
and  consciously  united  to  voluntary  elements  without 
interfering  with  their  spontaneous  upspringing.  Upon 
this  fact  is  based  all  free  development  of  naturalness. 

1.  Vision.  One  important  action  of  the  mind  is  the 
response  of  the  mental  activities  in  forming  a  mental 
conception.  The  mind  may  perceive  through  the 
senses  a  part  of  something,  a  sign  or  a  word  standing 
for  it,  while  out  of  its  own  storehouse  it  furnishes  the 
material  for  the  complete  image  or  concept.  The 
action  of  the  senses  is  called  perception.  The  action 
of  the  mind  in  supplying  additional  materials  stored 
up  by  previous  experience  is  called  apperception.  A 
conception  results  from  every  act  of  perception  and 
awakens  spontaneously  a  mental  image. 

These  actions  of  the  mind  depend  greatly  upon 
observation  and  interest.  The  best  method  of  devel- 
oping them  is  to  cultivate  admiration  for  the  simple 
objects  about  us  and  the  habit  of  close  observation. 

In  reading,  we  too  often  consider  the  words  as  words 
only.  Frequently  the  spontaneous  activities  are  re- 
pressed, because  the  whole  attention  is  placed  upon 
the  words. 

Read  for  example,  the  following  lyric.  Many  would 
take  the  word  "  gorse  "  as  a  mere  word.  Others  may 
think  of  it  as  the  cowslip  or  daffodil.  Few  -gi 
will  look  up  its  definition  carefully  and  find 
that  furze  is  meant  and  then  find  out  what  furze 
is  and  get  the  information  necessary  to  form  a 
definite  picture  of  what  the  poet  meant.  The  same  is 
true  of  "  speedwell." 


SPONTANEOUS   ACTIONS  1 39 

The  words  "  banks,"  "  oaks,"  and  "  heather,"  being 
familiar,  may  arouse  more  definite  pictures.  Some 
will  think  of  the  "  swallow  "  as  a  mere  bird,  while 
others  will  make  a  very  clear  picture  of  the  bird  and 
her  nest  of  clay. 

THE    FIRST    SWALLOW. 

The  gorse  is  yellow  on  the  heath, 

The  banks  with  speedwell  flowers  are  gay, 
The  oaks  are  budding,  and,  beneath. 
The  hawthorn  soon  will  bear  the  wreath, 
The  silver  wreath,  of  May. 

The  welcome  guest  of  settled  Spring, 

The  swallow,  too,  has  come  at  last; 
Just  at  sunset,  when  thrushes  sing, 
I  saw  her  dash  with  rapid  wing, 

And  hail'd  her  as  she  past. 

Come,  summer  visitant,  attach 

To  my  reed  roof  your  nest  of  clay. 
And  let  my  ear  your  music  catch. 
Low  twittering  underneath  the  thatch 

At  the  gray  dawn  of  day. 

C    SMITH. 

Again,  the  apperceptive  actions  are  free.  In  the  pre- 
ceding poem,  for  example,  some  will  see  the  wood- 
thrush,  others  the  hermit-thrush,  others  the  veery  or 
some  other  species.  Yet  others  will  not  see  the  thrush 
at  all  but  will  hear  the  beautiful  notes  of  one  of  these 
rich  singers.  It  matters  little  when  the  word  "  bird  " 
is  used  what  especial  bird  is  pictured,  so  that  the  mind 
has  a  conception  sufficiently  definite  to  awaken  its  life. 

This  spontaneous  formation  of  conception  in  the 
mind  is  of  vital  moment  to  delivery  It  is  the  very 
beginning  of  the  reception  of  an  impression.  Upon  it 
depends  all  true  feeling.  It  can  be  developed,  and  after 
the  habit  of  careful  observation  and  interest  in  nature 
is  formed,  vocal  expression  is  the  chief  means  to  stim- 
ulate a  distinct  spontaneous  action,  a  responsive  readi- 
ness on  the  part  of  the  mind. 


140  FOUNDATIONS   OF   EXPRESSION 

One  danger  must  be  guarded  against  from  the  very 
outset ;  a  tendency  to  interfere  with  spontaneous  mental 
energy.  The  student  overestimates,  in  nearly  every 
case,  the  voluntary  actions  of  his  mind.  He  tries  to 
make  a  literal  picture  of  objects.  Teachers  sometimes 
direct  all  the  energies  of  the  student  to  "  making 
pictures."  These  are  formed  too  deliberately  and 
dominate  the  spontaneous  energies,  so  far  as  to  in- 
terfere with  expression.  This  eliminates  feeling  and 
imagination. 

In  the  act  of  reading,  the  student  must  give  his 
definite  attention  to  an  idea,  and  accentuate  voluntary 
attention  on  the  fundamental  centres  as  much  as  pos- 
sible ;  but  simultaneously,  and  co-ordinate  with  this  he 
must  give  his  mind  great  freedom  to  enjoy,  and  to 
create  what  pictures  he  pleases,  and  in  his  own  way, 
making  them  vivid  or  only  dimly  suggestive. 

In  the  acceptance  of  a  truth  the  mind  builds  up  a 
mental  world  which  it  realizes  more  or  less  in  corre- 
spondence with  the  senses.  When  deeply  aroused,  we 
perceive  a  mental  image  as  vividly  as  the  eye  could  see 
it  in  the  real  world.  We  hear  sounds,  not  only  in  the 
outer  world  but  also  in  the  mind.  We  touch  surfaces, 
feel  resistances,  and  even  conceive  odors  and  tastes. 

Minds  differ  in  their  conceptual  power.  Some  turn 
almost  every  idea  or  mental  conception  into  a  picture. 
Others  are  more  apt  to  hear  sounds.  In  reading  these 
lines,  for  example,  some  will  hear  the  voice  of  the 
maiden  and  the  song  of  the  cuckoo  and  the  very  silence 
of  the  seas.  Others  will  see  the  cuckoo,  the  ocean,  and 
the  farthest  islands  of  the  Hebrides.  Still  others  will 
realize  both. 

No  sweeter  voice  was  ever  heard  in  spring-time  from  the  cuckoo- 
bird, 
Breaking  the  silence  of  the  seas,  among  the  farthest  Hebrides. 
"  Tho  Reaper."  WORDSWOHIH. 


SPONTANEOUS   ACTIONS  I4I 

Others  feel  muscular  resistances  and  surfaces.  In  the 
following,  some  minds  will  see  the  soft,  sweet  "  moss  " ; 
some  will  feel  the  surface  of  the  moss  as  they  Ue  down 
upon  it ;  others  may  perceive  the  sweet  odor  of  the  woods* 

The  soft,  sweet  moss  shall  be  thy  bed, 
With  crawling  woodbine  overspread, 
By  which  the  silver-shedding  streams 
Shall  gently  melt  thee  into  dreams. 

HERRICK. 

There  is  a  tendency  in  minds  for  one  conceptual 
action  to  be  more  responsive  than  any  other,  and  in 
some  persons  almost  entirely  to  subordinate  all  others. 

Read  a  passage  and  endeavor  to  accentuate  the  most 
intense    attention  and  concentration  and  at   the  same 
time  allow  the  greatest  freedom  of  the  creative    ^^o 
activities.     Co-ordinate  as  much  as  possible  both 
the  deliberative  and  spontaneous  actions  of  the  mind. 

TRUE   POSSESSIONS. 

Lord,  I  am  small,  and  yet  so  great, 
The  whole  world  stands  to  my  estate. 
And  in  thine  image  I  create. 
The  sea  is  mine ;  and  the  broad  sky 
Is  mine  in  its  immensity: 
The  river  and  the  river's  gold: 
The  earth's  treasures  manifold; 
The  love  of  creatures  small  and  great. 
Save  where  I  reap  a  previous  hate ; 
The  noontide  sun  with  tot  caress, 
The  night  with  quiet  loneliness; 
The  wind  that  bends  the  pliant  trees. 
The  whisper  of  the  summer  breeze; 
The  kiss  of  snow  and  rain ;  the  star 
That  shines  a  greeting  from  afar; 
All,  all  are  mine ;  and  yet  so  small 
Am  I,  that  lo  1 1  needs  must  call. 
Great  King,  upon  the  Babe  in  Thee, 
And  crave  that  Thou  wouldst  give  to  me 
The  grace  of  Thy  humility. 

MICHAEL  FAIRLESS. 

In  general,  this  conceptual  action  must  be  trained  and 
harmonized  in  the  development  of  vocal  expression. 


142  FOUNDATIONS   OF   EXPRESSION 

By  sympathetic  study  of  nature,  by  genuine  realization 
and  reading  of  simple  lines  of  poetry,  the  spontaneous, 
creative,  or  apperceptive  actions  of  the  mind  may  be 
greatly  stimulated  and  developed.  Impressions  are  vivid 
in  proportion  to  the  realization  of  the  meaning  of  a 
passage.  The  power  to  realize  ideas  quickly  and 
intensely  is  at  the  basis  of  all  eloquence  and  all  true 
vocal  expression. 

Render  a  variety  of  passages,  pausing  before  each 
phrase  and  allowing  the  mind  to  receive  such  a  vivid 
impression  as  will  directly  determine  the  voice  -„« 
modulations.  It  is  not,  however,  the  picture 
that  causes  expression.  The  image  may  be  vivid, 
but  imless  it  awakens  feeling  the  voice  will  be  cold. 
The  student  must  give  himself  up  to  the  pictures  in  his 
mind,  and  the  impression  caused  by  them. 

The  west  is  broken  into  bars 

Of  orange,  gold,  and  gray; 
Gone  is  the  sun,  come  are  the  stars, 

And  night  infolds  the  day. 

"  Songs  of  the  Summer  Nights."  GEORGE   MACDONALD. 

Cannon  to  right  of  them,  cannon  to  left  of  them,  cannon  in 
front  of  them  volleyed  and  thundered:  stormed  at  with  shot  and 
shell,  boldly  they  rode  and  well;  into  the  jaws  of  death,  into  the 
mouth  of  Hell,  rode  the  six  hundred. 

TENNYSON. 

THE   SEA-WEED. 

The  flying  sea-bird  mocked  the  floating  dulse: 

"  Poor  wandering  water-weed,  where  dost  thou  go, 

Astray  upon  the  ocean's  restless  pulse?  " 
It  said:  "  I  do  not  know. 

"  At  a  cliff's  foot  I  clung  and  was  content. 

Swayed  to  and  fro  by  warm  and  shallow  waves; 

Along  the  coast  the  storm-wind  raging  went, 
And  tore  me  from  my  caves. 

**  I  am  the  bitter  herbage  of  that  plain 

Where  no  flocks  pasture,  and  no  man  shall  have 

Homestead,  nor  any  tenure  there  may  gain 
But  only  for  a  grave. 


SPONTANEOUS   ACTIONS  I43 

**  A  worthless  weed,  a  drifting,  broken  weed, 
What  can  I  do  in  all  this  boundless  sea? 

No  creature  of  the  universe  has  need 
Or  any  thought  of  me." 

Hither  and  yonder,  as  the  winds  might  blow. 
The  sea-weed  floated.     Then  a  refluent  tide 

Swept  it  along  to  meet  a  galleon's  prow  — 
*•  Land  ho  I  "  Columbus  cried. 

ELIZAUE'lH   PULLEN. 

Of  a  sudden  the  sun  shone  large  and  bright, 
As  if  he  were  staying  away  the  night, 
And  the  rain  on  the  river  fell  as  sweet 
As  the  pitying  tread  of  an  angel's  feet. 

CAREY. 

The  Sun's  rim  dips ;  the  stars  rush  out ; 

At  one  stride  comes  the  dark ; 
With  far-heard  whisper,  o'er  the  sea, 

Off  shot  the  spectre  bark. 

"  The  Ancient  Mariner."  COLERIDGE. 

A  Conception  of  the  mind  is  usually  the  result  of  the 
union  of  perception  and  apperception.  Percep- 
tion is  that  part  of  an  impression  or  conception  received 
through  the  senses.  Apperception  is  that  part  of 
every  conception  spontaneously  furnished  by  the  mind 
itself. 

Vision,  as  here  used,  is  the  free  and  right  use  of  the 
apperceptive  energies  in  reading  and  speaking. 

2.  Imagination.  In  rendering  the  following  lines  we 
note  a  change  at  the  beginning  of  the  third  ^^a 
line.  The  words  become  pictorial  and  deeper 
feeling  is  aroused.  Everything  is  made  more  ideal 
and  lifted  to  a  higher  plane  into  an  atmosphere  of 
sympathy.  The  voice  also  becomes  richer  in  its  vibra- 
tions and  more  pleasing. 

I  know  not  what  the  future  hath  of  marvel  or  surprise. 
Assured  alone  that  life  and  death  his  mercy  underlies. 
And  so  beside  the  Silent  Sea  I  wait  the  muffled  oar ; 
No  harm  from  Him  can  come  to  me  on  ocean  or  on  shore. 
I  know  not  where  his  islands  lift  their  fronded  palms  in  air; 
I  only  know  I  cannot  drift  beyond  his  love  and  care. 

•*  Tb«  Eternal  Goodnesi."  WHITTIKR. 


144  FOUNDATIONS   OF   EXPRESSION 

The  second  sentence  of  the  following  expresses  the 
same  thought  as  the  first,  but  what  a  different  impression 
it  produces  I  The  mental  action  is  different.  In  the 
first  sentence  each  idea  is  put  literally;  in  the  second 
there  is  a  delicate  allusion,  a  strange  union  of  mental 
and  emotional  actions. 

In  a  valiant  suffering  for  others,  not  in  a  slothful  making  of 
others  suffer  for  us,  did  nobleness  ever  lie.  Every  noble  crown 
is,  and  on  earth  will  ever  be,  a  crown  of  thorns. 

CARLYLE, 

In  the  following  passage  observe  that  the  first  line  may 
be  given  with  many  kinds  of  situation,  each  situation 
causing  a  different  feeling.  Then  observe  that  the  situ- 
ation of  danger  of  Roushan  Beg  must  be  pictured  by  the 
imagination  before  there  can  be  any  true  feeling. 

Suddenly  the  pathway  ends. 
Sheer  the  precipice  descends, 

Loud  the  torrent  roars  unseen ; 
Thirty  feet  from  side  to  side 
Yawns  the  chasm ;  c  n  air  must  ride 

He  who  crosses  this  ravine. 

LONGFELLOW. 

The  study  of  any  passage  of  deep  significance  reveals, 
not  only  the  fact  that  we  receive  vivid  impressions  of 
each  successive  idea,  and  logically  relate  these  to  each 
other,  but  that  we  also  conceive  a  certain  ideal  situation 
or  background.  This  faculty  of  sympathetic  insight,  the 
faculty  which  enables  man  to  perceive  by  the  creative 
power  of  being,  has  been  named  Imagination. 

Its  power  is  spontaneous,  direct,  immediate,  sympa- 
thetic mental  activity  or  energy.  It  is  a  faculty  which 
lies  at  the  basis  of  all  insight  and  sympathy,  and  of  all 
poetic,  creative,  or  dramatic  instinct,  and  is  of  funda- 
mental importance  in  developing  power  in  expression. 

The  imagination  acts  in  its  own  way,  without  rule,  or 
external  domination.  It  cannot  be  forced  or  driven.  It 
implies  a  sympathetic  attitude  toward  an  object,  and  is 
associated  with,  if  it  does  not  consist  in,  the  spontaneous 


SPONTANEOUS    ACTIONS 


145 


creative  energies  of  the  mind.  It  places  every  idea  in 
some  kind  of  a  situation  or  relationship  to  Hfe.  It  brings 
all  elements  into  a  higher  and  more  sympathetic  unity. 

One  function  of  the  imagination  is  insight.  It  is  the 
faculty  that  sees.  Out  of  material  stored  in  the  mind  it 
creates  a  living  world.  By  its  power  the  Parthenon  is  no 
longer  a  ruin  and  the  Greeks  yet  live.  The  imagination 
gives  atmosphere  and  stimulates  individual  ideas.  Mere 
facts  may  make  a  wrong  impression  but  imagination 
clothes  facts  with  living  scenes  and  situations  and  pre- 
sents the  hidden  truth.  Imagination  is  the  basis  of  all 
figurative  language.  It  compares  object  with  object; 
identifies  the  unknown  and  the  known,  and  creates  a  new 
whole. 

To  give  expression  to  thought  implies  realization. 
The  artist  must  have  vision.  His  heart  must  be  moved 
before  he  can  move  others. 

The  best  method  of  developing  the  imagination  is  the 
interpretation  of  the  sublimest  literature.  The  imagina- 
tion must  be  trained  by  observation  of  beautiful  things  in 
nature  and  by  sympathetic  reading  and  vocal  interpre- 
tation of  the  best  poetry. 

Anything  may  be  commonplace;  anything  may  be 
poetic;  anything  may  be  sublime.  It  all  depends  upon 
the  degree  of  imagination  in  realizing  the  fact.  Every- 
thing is  an  index  finger  pointing  to  something  beyond. 
The  smallest  leaf  or  flower  may  serve  as  a  window 
through  which  the  human  spirit  penetrates  the  hidden 
mystery. 

The  imagination  indicates  the  degree  of  realization 
or  exaltation  of  whatever  poem  or  thought  is  being 
expressed. 

If  we  take  a  beautiful  poem  and  read  it  on  the  com- 
monplace plane,  only  the  discursive  intellect  acts.  But 
when  we  perceive  its  beauty  the  imagination  and  feel- 
ing are  active  and  we  have  a  higher  conception  and 


146  FOUNDATIONS   OF    EXPRESSION 

expression.    Finally,  we  can  so  deeply  realize  a  truth 
that  it  is  exalted  above  us,  and  becomes  sublime. 

Flower  in  the  crannied  wall, 

I  pluck  you  out  of  the  crannies ;  — 
Hold  you  here,  root  and  all,  in  my  hand, 
Little  flower ;  —  but  if  I  could  understand 
What  you  are,  root  and  all,  and  all  in  all, 

I  should  know  what  God  and  man  is. 

TENNYSON. 

Give  the  following  words  first  as  mere  words,  facts 
or    thoughts;    then    give    them    beauty    or   a   .„_ 
higher    poetic    relationship;    lastly,   become    so 
permeated  with  their  meaning  as  to  throb  in  sympathy 
with  the  ancient  heroes. 

Passer-by,  say  at  Lacedsemon  we  lie  here  in  obedience  to  her 
laws. 

Inscription  at  Thermopylae.  SIMONIDES. 

Rise,  oh  1  ever  rise. 
Rise,  like  a  cloud  of  incense,  from  the  earth  I 
Thou  kingly  spirit  throned  among  the  hills. 
Thou  dread  ambassador  from  earth  to  heaven. 
Great  hierarch  I  tell  thou  the  silent  sky. 
And  tell  the  stars,  and  tell  yon  rising  sun, 
Earth,  with  her  thousand  voices,  praises  God  J 

"  Mont  Blanc."  COLERIDGE. 

These  passages  are  really  on  the  plane  of  sublimity; 
but  some  lines  may  be  appropriately  rendered  on  almost 
any  plane.  It  is  the  characteristic  of  good  taste  that 
it  realizes  an  idea  on  its  true  plane. 

Give  the  following  many  degrees  of  exaltation   .rt« 
and  note  the  one  most  appropriate,  and  why? 

Roll  on,  thou  deep  and  dark  blue  Ocean  —  roll  I 
Ten  thousand  fleets  sweep  over  thee  in  vain, 

Oh,  rose,  out  of  the  heart  of  brier  and  thorn 
All  thy  sweet  loveliness  was  born. 

Vocal  expression  definitely  reveals  the  attitude  of 
man  toward  a  truth.  We  may  express  a  truth  and  in 
the  way  it  is  said  Indicate  that  it  is  something  com- 


SPONTANEOUS   ACTIONS 


U7 


pletely  grasped  by  us.  Or,  on  the  other  hand,  we  may 
have  an  attitude  of  wonder,  a  sense  of  the  transcend- 
ence of  the  idea  above  us.  This  is  the  case  in  all 
sublime  expression. 

Men  generally  feel  that  they  cannot  express  any- 
thing without  having  complete  grasp  of  it.  To  con- 
fine expression  to  any  adequate  and  perfect  intellectual 
conception  is  to  limit  man  to  the  commonplace  plane 
and  to  eliminate  all  imagination.  Suggestion  is  the 
law  of  expression,  and  we  are  drawn  closer  to  each 
other  in  our  endeavors  to  realize  and  express  ideas 
transcending  our  intellectual  comprehensions.  It  is 
this  that  makes  human  art  necessary.  It  is  the  en- 
deavor that  is  expressed,  and  the  will  is  taken  for  the 
deed.  Without  artistic  and  poetic  expression  each 
mind  would  be  isolated  from  the  deeper  life  and  expe- 
riences of  the  race.  We  not  only  share  ideas  but  ideals ; 
not  only  mutually  understand  facts,  but  we  come  in 
touch  with  each  other  in  our  highest  aspirations. 

We  should  not,  for  example,  express  the  thought  of 
Deity  as  something  easily  and  completely  compre- 
hended; this  is  irreverent  as  well  as  totally  ^o- 
inadequate.  But  if  we  express  endeavor  to 
grasp  the  idea  we  shall  awaken  similar  endeavor  on 
the  part  of  another  and  bring  speaker  and  hearer 
into  communion,  which  is  the  only  possible  aim  of  all 
expression. 

Lord  of  the  Universe  I  shield  us  and  guide  us, 
Trusting  Thee  always,  through  shadow  and  sun , 

Thou  hast  united  us,  who  shall  divide  us? 
Keep  us,  O  keep  us,  the  Many  in  Onel 

HOLMES. 

Immortal  Love,  forever  full,  forever  flowing  free, 

Forever  shared,  forever  whole,  a  never-ebbing  seal 

We  may  not  climb  the  heavenly  steeps  to  bring  the  Lord  Christ  down; 

In  vain  we  search  the  lowest  deeps,  for  Him  no  depths  can  arown. 

But  warm,  sweet,  tender,  even  yet  a  present  help  is  He; 

And  faith  has  stiU  its  Olivet,  and  love  its  Galilee. 


148  FOUNDATIONS   OF    EXPRESSION 

The  healing  of  the  seamless  dress  is  by  our  beds  of  pain ; 

"We  touch  Him  in  life's  throng  and  press,  and  we  are  whole  again. 

Through  Him  the  first  fond  prayers  are  said  our  lips  of  childhood 

frame, 
The  last  low  whispers  of  our  dead,  are  burdened  with  His  name. 
O  Lord,  and  Master  of  us  all  I     Whate'er  our  name  or  sign. 
We  own  Thy  sway,  we  hear  Thy  call,  we  test  our  lives  by  Thine. 

From  "  Our  Master."  WHITTIER. 

Observe  in  Realf's  "Indirection  "  the  long  pauses, 
the  effort  of  the  mind  to  reahze  transcendence  of  spirit 
over  material  things,  and  the  delicate  sugges-  ^o- 
tion  of  this  by  the  modulations  of  the  voice, 
such  as  tone-color,  and  delicate  decision  of  the  touch. 
Changes  of  pitch  and  a  quicker  movement  suggest  the 
external  facts,  while  slower  movement  and  other  changes 
suggest  the  hidden  meaning. 

INDIRECTION. 

Fair  are  the  flowers  and  the  children  — 

But  their  subtle  suggestion  is  fairer; 
Rare  is  the  rose-burst  of  dawn  — 

But  the  secret  that  clasps  it  is  rarer ; 
Sweet  the  exultance  of  song  — 

But  the  strain  that  precedes  it  is  sweeter; 
And  never  was  poem  yet  writ  — 

But  the  meaning  out-mastered  the  metre. 

Never  a  daisy  that  grows  — 

But  a  mystery  guideth  the  growing ; 
Never  a  river  that  flows  — 

But  a  majesty  sceptres  the  flowing; 
Never  a  Shakespeare  that  soared  — 

But  a  stronger  than  he  did  enfold  him ; 
Nor  ever  a  prophet  foretells  — 

But  a  mightier  seer  hath  foretold  him. 

Back  of  the  canvas  that  throbs. 

The  painter  is  hinted  and  hidden; 
Into  the  statue  that  breathes, 

The  soul  of  the  sculptor  is  bidden; 
Under  the  joy  that  is  felt. 

Lie  the  infinite  issues  of  feeling; 
Crowning  the  glory  revealed. 

Is  the  glory  that  crowns  the  revealing. 


SPONTANEOUS   ACTIONS  I49 

Great  are  the  symbols  of  being  — 

But  that  which  is  symboled  is  greater  j 
Vast  the  create  and  beheld  — 

But  vaster  the  inward  Creator; 
Back  of  the  sound  broods  the  silence, 

Back  of  the  gift  stands  the  giving; 
Back  of  the  hand  that  receives, 

Thrill  the  sensitive  nerves  of  receiving. 

Space  is  as  nothing  to  spirit  — 

The  deed  is  outdone  by  the  doing; 
The  heart  of  the  wooer  is  warm  — 

But  warmer  the  heart  of  the  wooing. 
And  up  from  the  pits  where  these  shiver, 

And  up  from  the  heights  where  those  shine, 
Twin  voices  and  shadows  swim  starward, 

And  the  essence  of  life  is  divine. 

RICHARD   REALF. 

3.  Emotion.  Another  spontaneous  action  of  being 
is  feeling.  Thinking  awakens,  but  will  cannot  domi- 
nate emotion  as  it  can  attention  or  thought.  A  man 
may  control  his  attention,  forcing  it  into  given  direc- 
tions and  centering  his  mind  upon  certain  ideas,  but 
emotion  must  always  be  spontaneous.  Many,  perhaps 
most,  faults  in  expression  are  associated  with  expression 
of  feeling,  and  the  peculiar  nature  and  action  of  feeling 
should,  on  this  account,  be  carefully  observed. 

All  genuine  thinking  awakens  feeling.  To  deepen 
and  intensify  emotion  we  stay  the  attention.  While 
emotion  cannot  be  directly  driven,  yet  by  concentrating 
the  mind  on  certain  images  deep  feeling  may  be  awak- 
ened. Feeling  is  often  eliminated  by  abstract  thinking, 
but  it  can  always  be  aroused  by  sympathetic,  contem- 
plative, imaginative  thought. 

A  close  study  of  feeling  reveals  two  distinct  classes 
of  emotion  which  have  opposite  effects  upon  body  and 
voice.  Joy,  affection,  sympathy,  and  courage  are 
positive.  They  expand  and  exhilarate  the  whole  body. 
They  not  only  elevate  and  ennoble  it,  but  make  the 
tone  pure  and  rich  in  sympathetic  vibrations.  Fear, 
sadness,  despondency,  antagonism,  hate,  envy,  or  jeal- 


IJO  FOUNDATIONS   OF   EXPRESSION 

ousy,  however,  have  an  opposite  effect.  They  not  only 
constrict  the  body,  and  make  the  tone  harsh  and  dis- 
agreeable, but  they  are  injurious  to  health. 

In  developing  expression  it  is  very  important  that 
the  student  should  exercise  the  normal  or  positive  feel- 
ings. These  afford  the  best  means  of  co-ordinating 
mind,  body,  and  voice  in  sympathetic  union. 

It  is,  accordingly,  essential  that  the  student  should 
learn  to  love  the  best  literature.  This  educates  his 
feelings  and  his  power  of  enjoyment,  as  well  as  in- 
creases the  strength  and  richness  of  his  voice  and  the 
grace  of  his  body.  Short  lyrics,  beautiful  and  ideal 
passages  should  be  memorized  and  recited. 

It  is  not  wise  for  the  student  to  give  many  stilted, 
declamatory  selections.  He  should  rather  learn  to 
express  the  natural,  the  simple,  the  imaginative ;  to  feel 
the  deeper  and  truer  energies  of  his  being,  and  to  give 
everything  as  simply  and  intensely  as  possible. 

The  training  of  the  voice  and  the  development  of 
expression  are  inseparably  connected  with  a  develop- 
ment of  right  habits  of  life,  with  joy  and  confidence, 
purity  and  nobility  of  thought.  The  development  of 
the  voice  is  not  a  mechanical  or  merely  local  matter. 
It  depends  upon  health  and  strength,  upon  normal, 
sympathetic  actions,  and  upon  right  motives  and 
feelings. 

In  order  that  expression  be  genuine,  the  student 
should  observe  his  own  thoughts  and  feelings,  and 
become  conscious  of  his  real  power.  He  must  give 
himself  up  to  truth,  and  sympathetically  identify  him- 
self with  the  highest  and  most  exalted  experience.  A 
study  of  the  positive  emotions  affords  also  a  means  of 
helping  one  to  feel  the  unity  of  mind,  body,  and  voice. 

The  best  foundation  for  the  genuine  culture  of  imag- 
ination and  feeling  is  probably  the  simple  and  natural 
admiration  of  nature,  and  the  study  of  poets  like  Words- 


SPONTANEOUS    ACTIONS  151 

worth,  who  are  full  of  healthful  and  deep  insight  into 
the  simplest  objects  about  us. 

Cultivate  feeling;  be  always  natural,  simple  and 
childlike;  study  beautiful  and  sublime  poetry;  observe 
nature  and  art  sympathetically. 

In  rendering  the  following,  allow  all  the  parts  of  a 
sunset  or  any  beautiful  scene  to  blend  into  unity.  See 
things,  not  in  isolation,  but  in  relation  to  others,  .-_ 
for  imagination  is  especially  the  faculty  that  sees 
the  kinship  of  things,  and  feeling  is  a  response  to  such 
recognition.  Give  up  to  noble  ideas;  allow  feeling  to 
awaken  and  be  expressed  by  the  modulations  of  the 
voice.  Pause  long  and  concentrate  the  whole  being 
in  meditative  realization  of  each  idea. 

I  hide  in  the  solar  glory,  I  am  dumb  in  the  pealing  song, 
I  rest  on  the  pitch  of  the  torrent,  in  slumber  I  am  strong. 
No  numbers  have  counted  my  tallies,  no  tribes  my  house  can  fill, 
I  sit  by  the  shining  Fount  of  Life,  and  pour  the  deluge  still ;  .  .  . 
No  ray  is  dimmed,  no  atom  worn,  my  oldest  force  is  good  as  new. 
And  the  fresh  rose  on  yonder  thorn  gives  back  the  bending  heavens 
in  dew. 

•*  Song  of  Nature,"  EMERSON. 

TO    THE    CUCKOO. 

O  Blithe  new-comer!  I  have  heard,  I  hear  thee  and  rejoice: 
O  Cuckoo !  shall  I  call  thee  bird,  or  but  a  wandering  Voice? 
While  I  am  lying  on  the  grass,  thy  twofold  shout  I  hear : 
From  hill  to  hill  it  seems  to  pass,  at  once  far  off  and  near. 

Though  babbling  only  to  the  vale  of  sunshine  and  of  flowers. 
Thou  bringest  unto  me  a  tale  of  visionary  hours. 
Thrice  welcome,  darling  of  the  Spring  I  even  yet  thou  art  to  me 
No  bird,  but  an  invisible  thing,  a  voice,  a  mystery. 

The  same  whom  in  my  school-boy  days  I  listen'd  to;  that  Cry 
Which  made  me  look  a  thousand  ways,  in  bush,  and  tree,  and  sky. 
To  seek  thee  did  I  often  rove  through  woods,  and  on  the  green; 
And  thou  wert  still  a  hope,  a  love;  still  long'd  for,  never  seeni 

And  I  can  listen  to  thee  yet,  can  lie  upon  the  plain 
And  listen,  till  I  do  beget  that  golden  time  again. 
O  blessed  bird  I  the  earth  we  pace  again  appears  to  be 
An  unsubstantial,  fairy  place,  that  is  fit  home  for  Thee  I 

WORDSWORTH 


152  FOXrWDATIONS    OF    EXPRESSION 

Emotion  is  the  sympathetic  awakening  of  man's 
subconscious  and  spiritual  sensibiUties. 

Poetry  is  the  intense  imaginative  and  emotional 
realization,  and  its  expression  in  artistic  form,  of  any 
idea  or  fact. 

Sublimity  is  the  sense  of  the  transcendence  of  idea 
over  form,  of  mind  over  matter.  Expression  is  com- 
monplace w^hen  mere  statements  predominate;  poetic, 
when  truth  is  expressed  with  human  realization;  sub- 
lime, when  man  suggests  his  effort  to  grasp  what  cannot 
be  conceived  in  finite  form. 

Positive  Emotions  are  those  which  are  normal  and 
tend  to  develop  health  and  strength,  and  cause  the  voice 
to  be  pure,  and  develop  tone-color. 

Negative  Emotions  are  those  which  depress  the 
human  body,  lessen  the  purity  and  resonance  of  the 
voice,  and  tend  to  make  the  human  being,  and  conse- 
quently all  his  expression  through  the  modulations  of 
his  tone,  ignoble  and  perverted. 

4.  Development  of  Spontaneous  Action.  The 
importance  of  spontaneous  action  in  expression  can 
hardly  be  overestimated.  It  is  the  basis  of  all  natural- 
ness, and  unless  the  spontaneous  energies  are  awakened, 
expression  will  lack  completeness. 

True  expression  not  only  comes  from  within  outward 
but  many  of  its  activities  are  subconscious.  The 
life  of  the  mind  is  deeper  than  consciousness.  As  has 
been  shown,  we  do  not  know  the  process  by  which 
feeling  awakens.  For  the  most  part  in  expression  we 
are  conscious  of  results  only.  But  if  we  endeavor  to 
produce  results  mechanically  we  work  from  without 
inward  and  thus  eliminate  imagination,  feeling,  and 
the  higher  spontaneous  actions  of  the  mind. 

The  development,  therefore,  of  spontaneous  energies 
is  not  only  an  important  problem,  but  a  difficult  one. 


SPONTANEOUS    ACTIONS 


153 


"  How,"  exclaim  many,  "  can  you  stimulate  what  is 
spontaneous?  " 

Here  we  find  again  the  importance  of  fundamentals. 
A  man  may  direct  consciousness  and  will  toward  fun- 
damentals without  becoming  self-conscious  or  mechan- 
ical. When  these  are  right  the  spontaneous  energies 
awaken  of  themselves. 

The  spontaneous  energies  constitute  the  funda- 
mental element  in  all  art.  Art  has  been  defined  as 
"  order  in  play ; "  that  is,  all  the  spontaneous  actions 
are  brought  into  co-ordinate  union  with  those  delib- 
erative and  voluntary.  An  artist  is  one  whose  whole 
nature,  conscious  and  subconscious,  voluntary  and 
involuntary  is  harmoniously  awakened. 

In  the  school  or  educational  life  of  every  one  much 
time  should  be  given  to  expression.  No  matter  what 
a  man's  work  may  be  great  attention  should  be  given 
to  the  free  play  of  his  faculties  and  powers.  No  one 
knows  what  is  in  him,  what  he  is  capable  of,  unless  he 
accepts  and  obeys  the  spontaneous  energies  of  his 
being.  It  is  especially  the  spontaneous  energies  that 
modulate  the  resonance  of  the  voice,  and  the  develop- 
ment of  resonance  is,  therefore,  the  best  method  of 
stimulating  and  studying  these  activities. 

Render  the  following  words  observing  that  the  principle 
expressed   in   them  applies  to   a   speaker   more   than 
to  a  writer.    Then  give  animated  passages   or   . 
speak   upon   an   interesting   subject   and   deeply 
live  every  idea  and  yield  to  the  spontaneous  energies 
of  your  own  being. 

Every  writer  is  a  skater,  and  must  go  partly  where  he  would, 
and  partly  where  the  skates  carry  him;  or  a  sailor,  who  can  only 
land  where  sails  can  be  blown. 

"Poetry  and  the  Imagination."  EMERSON. 

One  of  the  best  exercises  for  this  at  first  is  the 
practice  of  fables.  These  need  not  be  frivolous,  but 
full  of  meaning. 


154 


FOUNDATIONS    OF    EXPRESSION 


Render  fables,  allegoric  passages,  playful  selections, 
dialogues,  lyrics,  and  poetic  passages  of  all  kinds.     .^ 
Give  intense   attention;  allow  free  play  to  the 
spontaneous  energies.     Not  only  think,  but  feel  and 
enjoy  every  idea. 

TOWN    AND    COUNTRY. 

"  I'm  only  in  the  country  for  a  stay," 
Said  he,  a  little  town  bird, 
To  her,  a  little  brown  bird, 
In  course  of  conversation,  one  fine  day. 

"  I  think  a  country  life  is  very  slow, 

There's  really  no  variety, 

You  never  see  society, 
You  might  as  well  be  buried,  don't  you  know. 

"  In  town,  there  are  so  many  things  to  do; 

You  cut  a  thousand  capers. 

You  see  the  daily  papers  — 
I  think  I'd  live  in  town  if  I  were  you." 

Said  she,  —  "  I  do  not  envy  you  town  life; 

The  village  children  love  me, 

The  blue  sky  is  above  me. 
And  every  day  is  free  from  care  and  strife. 
I  think,"  said  she,  '*  it  is  a  thousand  pities, 
That  little  birds  should  live  in  great  big  cities." 

NOT  KNOWN. 

THE   FIELD    MOUSE   AND    THE    TOWN   MOUSE. 

A  Town  Mouse  was  asked  by  a  Field  Mouse  to  dine  with  him, 
and  he  went  out  and  sat  down  to  a  meal  of  corn  and  wheat. 

"  Do  you  know,  my  friend,"  said  he,  "  that  you  live  a  mere 
ant's  life  out  here?  Why,  I  have  all  kinds  of  things  at  home; 
come  and  enjoy  them." 

So  the  two  set  off  for  town,  and  there  the  Town  Mouse  showed 
his  beans  and  meal,  his  dates  too,  his  cheese  and  fruit  and  honey. 
And  as  the  Field  Mouse  ate,  drank  and  was  merry,  he  said  to 
himself,  "  How  rich  my  friend  is  and  how  poor  am  I." 

But  as  they  ate,  all  at  once  a  man  opened  the  door.  The 
mice,  in  great  fear  ran  into  a  crack. 

Then,  when  they  started  to  eat  some  nice  figs,  in  came  a  maid 
to  get  a  pot  of  honey  or  a  bit  of  cheese;  quickly  they  hid  in  a 
hole. 


SPONTANEOUS   ACTIONS 


155 


Then  the  Field  Mouse  would  eat  no  more,  but  said  to  tha 
Town  Mouse:  "  Rejoice  my  good  friend  in  your  wealth;  eat  all 
you  want,  have  your  fill  of  good  things,  and  be  always  in  fear 
of  your  life.  As  for  me,  I  will  live  on  at  home  with  only  corn 
and  wheat,  in  no  fear  of  anyone." 

THE    WIND    AND    THE   MOON. 

Said  the  Wind  to  the  Moon,  "  I  will  blow  you  out  I 

You  stare  in  the  air 

Like  a  ghost  in  a  chair. 
Always  looking  what  I  am  about. 
I  hate  to  be  watched ;  I  will  blow  you  out." 

The  Wind  blew  hard,  and  out  went  the  Moon. 

So,  deep  on  a  heap 

Of  clouds,  to  sleep 
Down  lay  the  Wind,  and  slumbered  soon  — 
Muttering  low,  "  I've  done  for  that  Moon." 

He  turned  in  his  bed:  she  was  there  again. 

On  high  in  the  sky. 

With  her  one  ghost  eye. 
The  Moon  shone  white  and  alive  and  plain. 
Said  the  Wind,  "  I  will  blow  you  out  again." 

The  Wind  blew  hard,  and  the  Moon  grew  dim. 

"  With  my  sledge  and  my  wedge 

I  have  knocked  off  her  edge. 
If  only  I  blow  right  fierce  and  grim. 
The  creature  will  soon  be  dimmer  than  dim." 

He  blew  and  he  blew,  and  she  thinned  to  a  thread. 

"  One  puff  more's  enough 

To  blow  her  to  snuff  1 
One  good  puff  more  where  the  last  was  bred. 
And  glimmer,  glimmer,  g^um  will  go  the  thread." 

He  blew  a  great  blast,  and  the  thread  was  gone; 

In  the  air  nowhere 

Was  a  moonbeam  bare ; 
Far  off  and  harmless  the  shy  stars  shone: 
Sure  and  certain  the  Moon  was  gone  I 

The  Wind  he  took  to  his  revels  once  more; 

On  down,  in  town, 

Like  a  merry-mad  clown. 
He  leaped  and  holloed  with  whistle  and  roar. 
"  What's  that?  "     The  glimmering  thread  once  more 


r56  FOUITDATIONS  OF  EXPRESSION 

He  flew  in  a  rage  —  he  danced  and  blew; 

But  in  vain  was  the  pain 

Of  his  bursting  brain ; 
For  still  the  broader  the  moon-scrap  grew, 
The  broader  he  swelled  his  big  cheeks  and  blew. 

Slowly  she  grew  —  till  she  filled  the  night, 

And  shone  on  her  throne 

In  the  sky  alone, 
A  matchless,  wonderful,  silvery  light, 
Radiant  and  lovely,  the  queen  of  the  night. 

Said  the  "Wind,  *'  What  a  marvel  of  power  am  1 1 

With  my  breath,  good  faith, 

I  blew  her  to  death  — 
First  blew  her  away  right  out  of  the  sky  — 
Then  blew  her  in ;  what  a  strength  am  I !  " 

But  the  Moon  she  knew  nothing  about  the  affair. 

For,  high  in  the  sky, 

With  her  one  white  eye. 
Motionless,  miles  above  the  air. 
She  had  never  heard  the  great  Wind  blare. 

GEORGE  MACDONALD. 

Discuss  a    subject  first  on  the  commonplace  plane, 
second,  on  the  plane  of  poetry  or  beauty^  and    -o^ 
third,  on  that  of  sublimity. 

WANDERER'S   SONG. 

There  will  be,  when  I  come  home,  through  the  hill-gap  in  the  west, 
The  friendly  smile  of  the  sun  on  the  fields  that  I  love  best ; 
The  red-topped  clover  here,  and  the  white-whorled  daisy  there. 
And  the  bloom  of  the  wilding  briar  that  attars  the  upland  air ; 
There  will  be  bird-mirth  sweet  —  (mellower  none  may  knowl)  — 
The  flute  of  the  wild  wood-thrush,  the  call  of  the  vireo; 
Pleasant  gossip  of  the  leaves,  and  from  the  dawn  to  the  gloam 
The  lyric  laughter  of  brooks  there  will  be  when  I  come  home. 
There  will  be,  when  I  come  home,  the  kindliness  of  the  earth  — 
Ah,  how  I  love  it  all,  bounteous  breadth  and  girth ! 
The  very  sod  will  say  —  tendril,  fibre,  and  root  — 
"  Here  is  our  foster-child,  he  of  the  wandering  foot. 
Welcome !  welcome !  "     And,  lo !  I  shall  pause  at  a  gate  ajar 
That  the  leaning  lilacs  shade,  where  the  honeysuckles  are; 
1  shall  see  the  open  door  —  O  farer  over  the  foam, 
Th?  ease  of  this  hunger  of  heart  there  will  be  when  I  come  home ! 

CLINTON  SCOLLARD 


SPONTANEOUS   ACTIONS  1 57 

For  the  development  of  imagination  and  spontaneous 
energies,  the  chief  dependence  must  be  placed  j„« 
upon  the  study  and  rendition  of  the  best  poetry. 
Meditate  and  contemplate  nature,  and  poetic  expres- 
sion of  every  form.  Develop  depth  of  feeling,  taste, 
and  creative  intensity  by  studying  the  best  poems 
of  authors  as  different  in  spirit  as  possible. 

Here  sparrows  build  upon  the  trees, 

The  stockdove  hides  her  nest; 
And  leaves  are  winnowed  by  the  breeze 

Into  a  calmer  rest ; 
The  black-cap's  song  was  very  sweet 

That  used  the  rose  to  kiss ; 
It  made  the  paradise  complete; 

My  early  home  was  this  .  .  . 

The  old  house  stooped  just  like  a  cave, 

Thatched  o'er  with  mosses  green; 
Winter  round  the  walls  would  rave, 

But  all  was  calm  within. 
The  trees  are  here  all  green  again, 

Here  bees  the  flowers  still  kiss; 
But  flowers  and  trees  seemed  sweeter  then  — 
My  early  home  was  this. 

'  My  Early  Home."  JOHN  CL.\RE 

ODE   TO   THE   WEST   WIND. 

O  wild  West  Wind,  thou  breath  of  Autumn's  being,  thou, 
from  whose  unseen  presence  the  leaves  dead  are  driven,  like 
ghosts  from  an  enchanter  fleeing,  yellow,  and  black,  and  pale, 
and  hectic  red,  pestilence-stricken  multitudes:  O  thou  who 
chariotest  to  their  dark  wintry  bed  the  winged  seeds,  where  they 
lie  cold  and  low,  each  like  a  corpse  within  its  grave,  until  thine 
azure  sister  of  the  spring  shall  blow  her  clarion  o'er  the  dreaming 
earth,  and  fill  (driving  sweet  buds  like  flocks  to  feed  in  air) with 
living  hues  and  odours  plain  and  hillr  wild  Spirit,  which  art  mov- 
ing everywhere ;  destroyer  and  preserver ;  hear,  oh,  hear  I  Thou 
on  whose  stream,  'mid  the  steep  sky's  commotion,  loose  clouds 
like  earth's  decaying  leaves  are  shed,  shook  from  the  tangled 
boughs  of  Heaven  and  Ocean,  angels  of  rain  and  lightning,  there 
are  spread  on  the  blue  surface  of  thine  airy  surge,  like  the  bright 
hair  uplifted  from  the  head  of  some  fierce  Maenad,  ev'n  from  the 
dim  verge  of  the  horizon  to  the  zenith's  height  —  the  locks  of 
the  approaching  storm.  Thou  dirge  of  the  dying  year,  to  which 
this  closing  night  will  be  the  dome  of  a  vast  sepulchre,  vaulted 


158  FOUNDATIONS   OF   EXPRESSION 

with  all  thy  congregated  might  of  vapours,  from  whose  solid 
atmosphere  black  rain,  and  fire,  and  hail,  wUl  burst:  Oh,  hear. 
Thou  who  didst  waken  from  his  summer  dreams  the  blue  Med- 
iterranean, where  he  lay,  lulled  by  the  coil  of  his  crystalline 
streams,  beside  a  pumice  isle  in  Baiae's  bay,  and  saw  in  sleep  old 
palaces  and  towers  quivering  within  the  wave's  intenser  day, 
all  overgrown  with  azure  moss  and  flowers  so  sweet,  the  sense 
faints  picturing  them!  Thou  for  whose  path  the  Atlantic's 
level  powers  cleave  themselves  into  chasms,  while  far  below  the 
sea-blooms  and  the  oozy  wood  which  wear  the  sapless  foliage 
of  the  ocean,  know  thy  voice,  and  suddenly  grow  gray  with  fear, 
and  tremble  and  despoil  themselves:  Oh,  hear! 

If  I  were  a  dead  leaf  thou  mightest  bear ;  if  I  were  a  swift  cloud 
to  fly  with  thee;  a  wave  to  pant  beneath  thy  power,  and  share 
the  impulse  of  thy  strength,  only  less  free  than  Thou,  O  uncon- 
trollable! If  even  I  were  as  in  my  boyhood,  and  could  be  the 
comrade  of  thy  wanderings  over  heaven,  as  then,  when  to  out- 
strip the  skyey  speed  scarce  seem'd  a  vision,  I  would  ne'er  have 
striven  as  thus  with  thee  in  prayer  in  my  sore  need.  O  lift  me 
as  a  wave,  a  leaf,  a  cloud !  I  fall  upon  the  thorns  of  life !  I 
bleed  I  A  heavy  weight  of  hours  has  chain'd  and  bow'd  one  too 
like  thee:  tameless,  and  swift,  and  proud.  Make  me  thy  l)n:e, 
ev'n  as  the  forest  is:  what  if  my  leaves  are  falling  like  its  own! 
the  tumult  of  thy  mighty  harmonies  will  take  from  both  a  deep 
autumnal  tone,  sweet  though  in  sadness.  Be  thou,  Spirit  fierce, 
my  spirit !  be  thou  me,  impetuous  one !  Drive  my  dead  thoughts 
over  the  universe  like  wither'd  leaves  to  quicken  a  new  birth ;  and 
by  the  incantation  of  this  verse,  scatter,  as  from  an  unextinguish'd 
hearth  ashes  and  sparks,  my  words  among  mankind  1  Be 
through  my  lips  to  unawaken'd  earth  the  trumpet  of  a  prophecy  I 
O  Wind,  if  Winter  comes,  can  Spring  be  far  behind? 

SHELLEY 

LUCY. 

She  dwelt  among  the  untrodden  ways 

Beside  the  springs  of  Dove, 
A  maid  whom  there  were  none  to  praise 

And  very  few  to  love. 

A  violet  by  a  mossy  stone 

Half  hidden  from  the  eye ; 
Fair  as  a  star  when  only  one 

Is  shining  in  the  sky. 

She  lived  unknown,  and  few  could  know 

When  Lucy  ceased  to  be ; 
But  she  is  in  her  grave,  and,  oh, 

The  diflerence  to  me  I 

WORDSWORTa 


xn. 

TONE-COLOR. 

Tone-color  is  the  modulation  of  the  overtones  of 
the  human  voice  by  imagination  and  feeling.  The 
variation  of  the  resonance  or  overtones  is  the  chief 
cause  of  the  difference  between  any  two  voices,  oi 
of  the  change  of  any  voice  in  expressing  different 
emotions. 

When  we  study  the  relations  of  the  spontaneous 
actions  of  the  mind  and  the  modulations  of  the  voice, 
we  perceive  perfect  correspondence.  As  there  are  some 
actions  of  the  mind  of  which  we  are  more  conscious, 
there  are  also  certain  modulations  of  voice,  such  as 
touch  or  direction  of  inflexion,  which  are  more  delib- 
erative and  voluntary,  and  certain  others  which  are 
less  conscious  and  more  spontaneous,  such  as  change 
of  pitch  and  length  or  abruptness  of  inflexion.  All  of 
these  may  be  performed  consciously,  and  it  is  a  helpful 
exercise  deliberately  to  make  ourselves  change  the 
pitch,  lengthen  the  inflexions  or  give  them  more 
abruptly,  and  to  do  these  with  great  accentuation. 

Tone-color  is  the  modulation  of  the  voice  most 
directly  expressive  of  imagination  and  feeling.  As 
these  qualities  are  less  conscious  and  deliberative,  in 
the  same  way  tone-color  is  the  result  of  certain  condi- 
tions and  can  be  only  indirectly  stimulated. 

To  discover  the  presence  of  tone-color,  read  over 
two  passages  very  different  in  spirit  and  feeling,  one 
didactic,  the  other  imaginative  and  sympathetic.  j«_ 
Note  that  the  inflexions,  changes  of  pitch,  pauses 
and  touches  are  very  similar,  but  that  the  two  readings 
are  quite  different;  and  observe  that  this  difference  is 
due  to  the  change  in  the  quality  of  the  voice. 

•59 


l6o  FOUin)ATIONS   OF   EXPRESSIOl? 

Ah,  well!  for  us  all  some  sweet  hope  lies 
Deeply  buried  from  human  eyes ; 
And,  in  the  hereafter,  angels  may 
Roll  the  stone  from  its  grave  away. 

From  "  Maud  MuUer  "  WHITTIER. 

MEN   ARE   FOUR. 

He  who  knows,  and  knows  he  knows,  — 

He  is  wise  —  follow  him. 

He  who  knows,  and  knows  not  he  knows,  — 

He  is  asleep  —  wake  him. 

He  who  knows  not,  and  knows  not  he  knows  not,  — 

He  is  a  fool  —  shun  him. 

He  who  knows  not,  and  knows  he  knows  not,  — 

He  is  a  child  —  teach  him. 

ARABIAN   PROVERB. 

Render  some  sublime  passage,  and  observe  that  the 
effort  to  realize  it  accentuates  the  retention  of  breath, 
the  conditions  of  tone,  and  the  modulations  of  ^.« 
the  voice,    brings  these  into  greater  harmony, 
and  especially  modulates  the  sympathetic  vibrations  of 
the  voice. 

Oh,  at  the  eagle's  height, 

To  lie  in  the  sweet  of  the  sun, 
While  veil  after  veil  takes  flight, 

And  God  and  the  world  are  one. 

Oh,  the  night  on  the  steep  I 

AH  that  his  eyes  saw  dim 
Grows  light  in  the  dusky  deep, 

And  God  is  alone  with  him. 

A.  E 

A  serious  and  very  common  fault,  which  must  be 
corrected  by  the  study  and  development  of  imagina- 
tion and  feeling,  and  their  expression  through  tone- 
color,  is  a  coldness  and  neutrality  of  vocal  expression 
in  the  interpretation  of  higher  literature.  Entire 
absence  of  tone-color,  because  of  the  suppression  of 
imagination  and  feeling,  is  the  first  condition  to  be 
corrected. 

Many  able  speakers  have  hardly  any  expression  of 
emotion.    The  modern  preacher  often  seems  to  think 


TONE-COLOR  l6l 

that  any  expression  of  emotion  is  wrong.  Men  read 
sublime  poems,  songs,  and  scripture,  and  are  even 
heard  to  pray  in  a  commonplace  tone.  As  the  voice 
gives  no  indication  of  spiritual  communion,  the  higher 
faculties  seem  entirely  asleep. 

There  is  no  better  method  of  developing  feeling,  of 
getting  control  of  the  higher  spiritual  emotions,  and 
recognizing  the  spirit  of  the  best  literature,  than  a 
sympathetic  vocal  expression  of  poetry.  Work  upon 
the  language  of  a  faculty  always  strengthens  the  faculty. 

Few,  if  any,  helps  to  arouse  feeling  are  given  in  ordi- 
nary education.  True  vocal  development  requires  a 
study  of  self,  a  manifestation  of  emotions,  and  the 
awakening  of  a  language  dormant  in  most  people. 

If  the  student  will  endeavor  to  express  lines  from 
different  poems  he  will  discover  the  narrowness  of  his 
gamut  of  feeling,  and  by  the  same  practice  can  j„_ 
extend  it.  By  studying  and  contrasting  many 
short  passages,  expressing  widely  different  emotions,  he 
can,  by  persevering  practice  in  thinking  and  feeling 
definitely  each  situation,  develop  his  imagination  and 
sensibilities  until  he  is  able  to  express  an  almost  in- 
finite variety  of  emotions.  There  is  practically  no 
limit  to  the  number  which  can  be  expressed  by  the 
modulations  of  the  voice. 

O  blessed  bird  1  the  earth  we  pace  again  appears  to  be 
An  unsubstantial  fairy  place,  that  is  fit  home  for  thee. 

"  To  the  Cuckoo."  WORDSWORTH. 

Books  give  to  all  who  faithfully  use  them  the  society,  the 
presence  of  the  best  and  greatest  of  our  race. 

A  silvery  brook  comes  stealing 
From  the  shadow  of  its  trees, 
Where  slender  herbs  of  the  forest  stoop 
Before  the  entering  breeze. 

••  The  Unknown  Way."  WILLIAM   CULLEN   BRYANT. 

Hurrah  1  hurrah !  the  west  wind  comes  freshening  down  the  bay  I 
The  rising  sails  are  filling,  give  way,  my  lads,  give  way. 

WHITTIER. 


l62  FOUNDATIONS   OF   EXPRESSION 

Tis  the  star-spangled  banner,  oh  1  long  may  it  wave 
O'er  the  land  of  the  free  and  the  home  of  the  brave. 


KEY. 


Love  had  he  found  in  huts  where  poor  men  lie ; 
His  daily  teachers  had  been  woods  and  rills, 
The  silence  that  is  in  the  starry  sky. 
The  sleep  that  is  among  the  lonely  hills. 

"  Brougham  Castle."  WORDSWORTH. 

All,  all  are  gone,  the  old  familiar  faces. 

See  the  noble  fellow's  face 
As  the  big  ship,  with  a  bound, 
Clears  the  entry  like  a  hound, 
Keeps  the  passage  as  its  inch  of  way  were  the  wide  sea's  profound  J 

"  Herve  Kiel."  BROWNING. 

Holy!  holy!  holy!  Lord  God  of  SabaothI 

Pray  you,  tread  softly,  —  that  the  blind  mole  may  not 
Hear  a  foot  fall;  we  are  now  near  his  cell. 

0  trusted  and  trustworthy  guard,  if  thou  hadst  life  like  me, 

What  pleasvures  would  thy  toils  reward  beneath  the  deep  green  seal 

•■  Forging  the  Anchor."  FERGUSON. 

God  and  Nature  are  altogether  sincere. 

A  song,  oh  a  song  for  the  merry  May ! 
The  cows  in  the  meadow,  the  lambs  at  play, 
A  chorus  of  birds  in  the  maple-tree 
And  a  world  in  blossom  for  you  and  me. 

Maid  of  my  Love,  sweet  Genevieve ! 

In  Beauty's  light  you  glide  along; 
Your  eye  is  like  the  star  of  eve. 

And  sweet  your  voice  as  Seraph's  song. 

COLERIDGE. 

All  in  a  hot  and  copper  sky  the  bloody  Sun,  at  noon. 
Right  up  above  the  mast  did  stand,  no  bigger  than  the  moon. 

COLERIDGE. 

Merrily,  merrily  goes  the  bark 

On  a  breeze  from  the  northward  free; 
So  shoots  through  the  morning  sky  the  lark. 

Or  the  swan  through  tne  summer  sea. 

SCOTT. 


TOlfE-COLOR  163 

So  nigh  is  grandeur  to  our  dust,  so  near  is  God  to  man, 
When  Duty  whispers  low,  Thou  must,  the  youth  replies,  /  can. 

EMERSON 

Come  one,  come  all!  this  rock  shall  fly 
From  its  firm  base  as  soon  as  I. 

Pale,  trembling  coward!  there  I  throw  my  gage. 

Of  old  hast  Thou  laid  the  foundation  of  the  earth ;  and  the 
heavens  are  the  work  of  Thy  hands.  They  shall  perish,  but  thou 
shalt  endure;  yea,  all  of  them  shall  wax  old  like  a  garment;  as 
a  vesture  shalt  thou  change  them,  and  they  shall  be  changed: 
but  thou  art  the  same ;  and  thy  years  shall  have  no  end. 

Hence!  home,  you  idle  creatures,  get  you  home! 

•*  Jolioi  Csesar."  SHAKESPEARE 

—  Wake !  oh,  wake !  and  utter  praise ! 
Who  sank  thy  sunless  pillars  deep  in  earth? 
Who  filled  thy  countenance  with  rosy  light? 
Who  made  thee  parent  of  perpetual  streams? 

COLERIDGE 

Ah  1  that  lady  of  the  villa  —  and  I  loved  her  so  — 
Hear  the  city  of  Sevilla  —  years  and  years  ago. 

WALLER. 

Tears,  idle  tears,  I  know  not  what  they  mean, 
Tears  from  the  depth  of  some  divine  despair 
Rise  in  the  heart,  and  gather  to  the  eyes, 
In  looking  on  the  happy  Autumn-fields 
And  thinking  of  the  days  that  are  no  more. 

TENNYSON. 

Ye  sons  of  Freedom,  wake  to  glory! 

Hark!  hark!  what  myriads  bid  ye  rise  I 
Your  children,  wives,  and  grandsires  hoary. 

Behold  their  tears  and  hear  their  cries. 

Stone  walls  do  not  a  prison  make,  nor  iron  bars  a  cage; 
Minds  innocent  and  quiet  take  that  for  an  heritage : 
If  I  have  freedom  in  my  love,  and  in  my  soul  am  free, 
Angels  alone,  that  soar  above,  enjoy  such  liberty. 

LOVELACE. 

Careless  seems  the  great  avenger;  history's  pages  but  record 
One  death-grapple  in  the  darkness  'twixt  old  systems  and  the  Wordj 
Truth  forever  on  the  scaffold,  Wrong  forever  on  the  throne,  — 
Yet  that  scafiold  sways  the  future,  and,  behind  the  dim  unknown, 
Standeth  God  within  the  shadow,  keeping  watch  above  his  own. 

LOWELL 


l64  FOUNDATIONS   OF   EXPRESSION 

Oh,  East  is  East,  and  West  is  West,  and  never  the  two  shall  meet, 
Till  Earth  and  Sky  stand  presently  at  God's  great  Judgment  Seat; 
But  there  is  neither  East  nor  West,  Border,  nor  Breed,  nor  Birth, 
When  two  strong  men  stand  face  to  face,  tho'  they  come  from  the 
ends  of  the  earth.  KIPLING. 

O  Love  Divine,  that  stoops  to  share 

Our  sharpest  pang,  our  bitterest  tear, 
On  Thee  we  cast  each  earth-born  care. 
We  smile  at  pain  while  Thou  art  near! 
"  Hymn  of  Trust."  HOLM  ES. 

MOUNT   RAINIER. 

Long  hours  we  toiled  up  through  the  solemn  wood 
Beneath  moss-banners  stretched  from  tree  to  tree; 

At  last  upon  a  barren  hill  we  stood 
And,  lo,  above  loomed  Majesty. 

HERBERT  BASH  FORD. 

Sometimes  failure  to  express  imagination  and  feel- 
ing ensues  from  fear  of  some  false  or  wrong  emotional 
expression  such  as  the  "  ministerial  tune."  This  fault 
is  a  manifestation  of  feeling  by  the  degradation  of 
inflexions  and  form.  But  a  genuine  expression  of 
emotion  interferes  in  no  way  with  form  and  thought. 
Form  and  color  should  co-ordinate  as  much  as  thought 
and  feeling. 

Inflexion,  change  of  pitch,  and  conversational  form 
are  like  drawing;  while  the  expression  of  feeling  and 
imagination  through  modulation  of  overtones  is  like 
color.  Good  drawing  does  not  interfere  with  the  color, 
nor  color  with  the  drawing.  Good  drawing  cannot 
compensate  for  lack  of  color  nor  good  coloring  for  lack 
of   drawing.     Both  are  essential. 

Among  other  elBfects  of  imagination  are  the  multi- 
plication, accentuation,  and  higher  unity  of  the  modu- 
lations of  the  voice.  On  the  commonplace  plane  we 
have  little  more  than  inflexion,  change  of  pitch,  pause 
and  touch,  but  imagination  not  only  emphasizes  and 
harmonizes  these  but  adds  tone-color  and  movement; 
and  all  the  modulations  become  more  sympathetically 
imited. 


TONE-COLOR  1 65 

Take  some  short  sentence,  and  give  it  with  situa- 
tions varying  from  the  purely  mechanical  to  the  ex- 
tremely pathetic ;  or  give  some  variation  or  con-   ^  _  _ 
trast,  and  note  that   each  attitude  of  the   mind 
and   emotion  modulates   the   resonance    of  the  voice 
without  destroying  vocal  form  or  changing  inflexions. 

I  saw  him  fall. 

O,  Mona's  waters  are  blue  and  bright 

When  the  sun  shines  out  like  a  gay  young  lover; 
But  Mona's  waves  are  dark  as  night 

When  the  face  of  heaven  is  clouded  over. 

Modest  and  shy  as  a  nun  is   she;  one  weak  chirp  is  her  only  note; 
Braggart  and  prince  of  braggarts  is  he,  pouring  boasts  from  his 
little  throat. 

"  The  Bobolink."  BRYANT. 

They  fought  like  brave  men,  long  and  well, 
They  piled  the  ground  with  Moslem  slain, 
They  conquered  —  but  Bozzaris  fell, 
Bleeding  at  every  vein. 

"  Marco  Bozzaris  "  HALLECK. 

Observe  how  carelessly  poems  are  read.     Study  and 
truly    render    the    emotions    of     the     following. 
Can  you  give  every  part  its  own  distinct  emotion 
and  tone-color? 

All  hail  the  power  of  Jesus'  name!  Let  angels  prostrate 
fall;  bring  forth  the  royal  diadem,  and  crown  Him  Lord  of  all  I 

Crown  Him,  ye  morning  stars  of  light.  Who  fixed  this  floating 
ball;  now  hail  the  strength  of  Israel's  might,  and  crown  Him 
Lord  of  all ! 

Crown  Him,  ye  martjn-s  of  your  God  who  from  His  altar  call; 
extol  the  stem  of  Jesse's  rod,  and  crown  Him  Lord  of  all  I 

Ye  seed  of  Israel's  chosen  race,  ye  ransomed  of  the  fall,  hail 
him  who  saves  you  by  His  grace,  and  crown  Him  Lord  of  all !  .  .  . 

Sinners,  whose  love  can  ne'er  forget  the  wormwood  and  the 
gall,  go  spread  your  trophies  at  His  feet,  and  crown  Him  Lord  of 
alll 

Let  every  kindred,  every  tribe,  on  this  terrestrial  ball,  to  Him 
all  majesty  ascribe,  and  crown  Him  Lord  of  all ! 

Oh,  that  with  yonder  sacred  throng  we  at  His  feet  may  fall, 
join  in  the  everlasting  song,  and  crown  Him  Lord  of  all  I 

E.  PERRONST. 


1 66  FOUNDATIONS   OF   EXPRESSION 

While  tone-color  is  perhaps  the  most  difficult  ele- 
ment of  vocal  expression  there  is  nothing  more  impor- 
tant; without  it,  it  is  impossible  to  express  imagina- 
tion and  feeling  truthfully  and  not  degenerate  into 
some  kind  of  weakness  such  as  a  false  tune. 

The  nature  and  importance  of  tone-color  are  per- 
ceived when  observing  certain  abnormal  or  weak 
expressions  of  feeling.  Uncontrolled  emotion,  for 
example,  will  modify  inflexions.  A  passive  expression 
of  reverence  or  awe  may,  as  the  elocutionists  contend, 
modify  the  stress,  and  make  what  is  known  as  the 
"  median  stress,"  but  any  modulation  of  touch  or 
inflexional  form  expresses  weakness.  The  legitimate 
language  of  imagination  and  emotion  is  the  modula- 
tion of  the  resonance  of  the  voice,  and  true  vocal  art 
can  be  developed  only  by  attention  to  this.  If  expres- 
sion is  to  be  dignified,  form  and  color  must  be  carefully 
distinguished  and  co-ordinated. 

Practise  passages  full  of  reverence  or  grief  and  deep 
feeling,  and  instead  of  employing  a  weaker  touch,  or 
the   so-called  "  median  stress,"  or  "  semi-tonic   ^  ._ 
melody,"   make   every   touch   and   inflexion   as 
definite  as  possible,  and  express  feeling  by  tone-color, 
co-ordinating  thought  and  feeling,  form  and  color. 

THE   ADMIRAL'S   GRAVE. 

There  is  in  the  lone,  lone  sea 

A  spot  unmarked  but  holy; 
For  there  the  gallant  and  the  free 

In  his  ocean  bed  lies  lowly. 

Down,  down,  beneath  the  deep 

That  oft  in  triumph  bore  him, 
He  sleeps  a  sound  and  peaceful  sleep 

With  the  wild  waves  dashing  o'er  him. 

He  sleeps !  he  sleeps !  serene  and  safe 

From  tempests  and  from  billow, 
Where  storms  that  high  above  him  chafe 

Scarce  rock  his  peaceful  pillow. 


TONE -COLOR  167 

The  sea  and  him  in  death 

They  did  not  dare  to  sever: 
It  was  his  home  when  he  had  breath; 

Tis  now  his  home  forever  I 

Sleep  on,  sleep  on,  thou  mighty  dead! 

A  glorious  tomb  they've  found  thee; 
The  broad  blue  sky  above  thee  spread, 

The  boundless  ocean  round  thee. 

I'm  a  bird  that's  free  of  the  land  and  sea,  I  wander  whither  I 
will;  but  oft  on  the  wing,  I  falter  and  sing.  Oh, fluttering  heart, 
be  still,  be  still,  oh,  fluttering  heart,  be  still! 

I'm  wild  as  the  wind,  but  soft  and  kind,  and  wander  whither  I 
may;  the  eyebright  sighs,  and  says  with  its  eyes,  thou  wandering 
wind,  oh  stay,  oh  stay,  thou  wandering  wind,  oh  stay! 

"  A  Sicilian  Summer.  SIR   HENRY  TAYLOR. 

Being  above  all  beings  1     Mighty  One, 
Whom  none  can  comprehend,  and  none  explore 
Who  fiU'st  existence  with  Thyself  alone,  — 
Embracing  all,  supporting,  ruling  o'er,  — 
Being  whom  we  call  God,  and  know  no  more  I 

NOEL. 

Star-dust  and  vaporous  light,  — 

The  mist  of  worlds  unborn,  — 
A  shuddering  in  the  awful  night 

Of  winds  that  bring  the  morn. 

Now  comes  the  dawn:  the  circling  earth; 

Creatures  that  fly  and  crawl ; 
And  Man,  that  last,  imperial  birth ; 

And  Christ,  the  flower  of  all. 

RICHARD  WATSON  GILDER, 
WANDERLIED. 

O  west  of  all  the  westward  roads  that  woo  ye  to  their  winding, 
O  south  of  all  the  southward  ways  that  call  ye  to  the  sea, 

There's  a  little  lonely  garden  that  would  pay  ye  for  the  finding 
With  a  fairy-ring  within  it  and  an  old  thorn  tree. 

O  there  upon  the  brink  of  morn  the  thrushes  would  be  calling. 
And  the  little  lilting  linnets,  sure  they'd  wake  me  from  the  dead 

With  the  lime-trees  all  in  blossom  and  the  soft  leaf-shadows  falling 
O  there  I'd  have  a  place  at  last  to  lay  my  head. 

O  would  I  had  a  swallow's  wings,  for  then  I'd  fly  and  find  it, 
O  would  I  had  a  swallow's  heart,  for  then  I'd  love  to  roam. 

With  an  orchard  on  the  hillside  and  an  old,  old  man  to  mind  it. 
It's  there  I'd  lift  my  lodge  at  last,  and  make  my  home. 


l68  FOUNDATIONS   OF   EXPRESSION 

O  there  I'd  see  the  tide  come  in  along  the  whispering  reaches, 
O  there  I'd  lie  and  watch  the  sails  go  shining  to  the  west, 

And  where  the  firwood  follows  on  the  wide  unswerving  beaches ; 
O  there  I'd  lay  me  down  at  last  and  take  my  rest. 

The  American  Magazine.  MARJORIE  L,  PICKTHALL 

NATHAN  HALE. 

To  drum-beat  and  heart-beat,  a  soldier  marches  by: 
There  is  color  in  his  cheek,  there  is  courage  in  his  eye, 
Yet  to  drum-beat  and  heart-beat  in  a  moment  he  must  die. 
By  starlight  and  moonlight,  he  seeks  the  Briton's  camp ; 
He  hears  the  rustling  flag,  and  the  armed  sentry's  tramp ; 
And  the  starlight  and  moonlight  his  silent  wanderings  lamp. 

With  slow  tread  and  still  tread  he  scans  the  tented  line. 
And  he  counts  the  battery  guns  by  the  gaunt  and  shadowy  pine; 
And  his  slow  tread  and  still  tread  gives  no  warning  sign. 
The  dark  wave,  the  plumed  wave,  it  meets  his  eager  glance; 
And  it  sparkles  'neath  the  stars,  like  the  glimmer  of  a  lance,  — 
A  dark  wave,  a  plumed  wave,  on  an  emerald  expanse. 

A  sharp  clang,  a  steel  clang,  and  terror  in  the  sound! 

For  the  sentry,  falcon-eyed,  in  the  camp  a  spy  hath  found ; 

With  a  sharp  clang,  a  steel  clang,  the  patriot  is  bound. 

With  calm  brow,  steady  brow,  he  listens  to  his  doom; 

In  his  look  there  is  no  fear,  nor  a  shadow-trace  of  gloom; 

But  with  calm  brow,  steady  brow,  he  robes  him  for  the  tomb. 

In  the  long  night,  the  still  night,  he  kneels  upon  the  sod ; 
And  the  brutal  guards  withhold  e'en  the  solemn  Word  of  God  I 
In  the  long  night,  the  still  night,  he  walks  where  Christ  hath  trod. 
'Neath  the  blue  morn,  the  sunny  morn,  he  dies  upon  the  tree ; 
And  he  mourns  that  he  can  lose  but  one  life  for  Liberty ; 
And  in  the  blue  morn,  the  sunny  morn,  his  spirit-wings  are  free. 

But  his  last  words,  his  message-words,  they  burn,  lest  friendly  eye 
Should  read  how  proud  and  calm  a  patriot  could  die. 
With  his  last  words,  his  dying  words,  a  soldier's  battle-cry. 
From  Fame-leaf  and  Angel-leaf,  from  monmnent  and  urn. 
The  sad  of  earth,  the  glad  of  heaven  his  tragic  fate  shall  learn; 
And  on  Fame-leaf  and  Angel-leaf  the  name  of  Hale  shall  burn  1 

FRANCIS   M.  FINCH 

Tone-color,  or  the  emotional  modulation  of  pure 
tone,  is  the  direct  language  of  imagination  and  feeling. 

Neutrality  is  the  attitude  of  mind  in  which  emo- 
tions are  inhibited  or  suppressed,  which  causes  the 
absence  of  color,  and  makes  the  voice  cold  and  hard, 


xm. 

SECONDARY  VIBRATIONS  OF  TONE. 

Having  found  that  the  language  of  imagination  and 
feeling  is  tone-color,  and  noted  the  relation  of  this  to 
vocal  form,  the  question  now  arises  how  we  can  develop 
conditions  of  voice  favorable  to  tone-color.  This  diffi- 
cult and  entirely  overlooked  subject  which  may  meet 
with  scepticism  on  the  part  of  many,  demands  serious 
attention. 

Voice  consists  of  what  may  be  termed  primary 
vibrations,  produced  and  modified  into  inflexions  or 
changes  in  pitch  by  the  vocal  bands ;  and  secondary,  or 
sympathetic  vibrations.  The  string  of  the  violin  causes 
the  fundamental  pitch  of  the  tone,  but  the  body  of  the 
instrument  furnishes  the  resonance  or  s)rmpathetic 
vibrations. 

Sound  waves  vary  in  length,  short  waves  giving 
high  pitch  and  long  waves  low  pitch ;  in  height,  causing 
degrees  of  loudness,  and  in  shape.  The  last  is  the 
most  difficult  element  in  sound.  The  shape  of  sound 
waves  is  caused  by  the  secondary  vibrations,  and  gives 
rise  to  overtones,  or  resonance. 

The  overtones  of  a  piano  can  be  distinguished  by 
most  persons  when  a  low  tone  is  struck,  as  the  higher 
overtones  are  the  last  to  die  away.  The  difference 
between  two  musical  instruments  or  between  two 
voices  is  mainly  due  to  difference  in  the  number  or 
relation  of  overtones.  A  flute  is  said  to  have  fourteen 
overtones;  a  violin  twenty-one.  This  accounts  for  the 
peculiar  richness  of  the  tone  of  a  violin.  A  normal 
human  voice  is  rich  in  overtones,  and  can  vary  them 
more  than  can  any  musical  instrument.  They  directly 
respond  to  feeling. 

i6o 


lyo  FOUWDATIOWS   OF   EXPRESSION 

Modulations  of  the  length  of  sound  waves,  or  pitch, 
give  rise  to  inflexions  and  intervals,  the  two  constitut- 
ing range.  Facility  in  producing  these  modulations, 
that  is,  in  changing  the  length  of  sound  waves,  has  been 
briefly  discussed  under  the  head  of  Agility.  Ease  in 
varying  the  height  of  sound  waves,  or  volume,  is  called 
Flexibility.  The  power  to  vary  the  shape  of  waves,  or 
to  enrich  the  overtones  is  now  to  be  considered,  and 
for  convenience  the  work  may  be  named  Resonance. 

Resonance  of  the  voice  implies  the  development  of 
the  overtones  as  the  material  or  the  condition  for  tone- 
color.  Tone-color,  the  natural  language  of  imagina- 
tion and  feeUng,  is  a  modulation  of  resonance. 

Qualities  of  voice  include  all  possible  characteristics 
of  tone,  discordant  and  accordant,  and  are  chiefly  due 
to  overtones.  Nasality  is  caused  by  the  prominence  of 
certain  discordant  overtones,  by  the  eHmination  of 
others  that  are  harmonious,  or  by  some  false  rela- 
tionship among  the  overtones.  The  same  is  true  of 
throatiness,  flatness,  and  all  abnormal  qualities  of 
voice.  A  pure  tone  is  one  whose  vibrations,  primary 
and  secondary,  are  normal.  Qualities  may  be  normal 
or  abnormal,  but  tone-color  is  the  emotional  modula- 
tion of  normal  quality  or  pure  tone. 

Hence,  to  develop  resonance,  first  establish  purity  of 
tone  and  normal  conditions  of  the  vibrations  by  secur- 
ing retention  of  breath  and  a  sympathetic  openness  of 
the  tone  passage.  The  fundamental  qualities,  such  as 
ease,  freedom,  and  openness  must  be  secured  before 
beginning  to  develop  the  overtones.  A  faulty  quality, 
such  as  nasality  or  throatiness,  cannot  be  colored  by 
emotion  because  the  overtones  are  perverted.  Tone 
can  be  colored  by  emotion  only  when  the  overtones 
are  normal.  A  tone  must  be  pure  and  produced  nor- 
mally before  the  sympathetic  modulation  of  the  body 
by  feeling  will  affect  its  overtones. 


SECONDARY    VIBRATIONS    OF    TONE 


171 


Not  only  do  conditions  of  openness,  freedom,  ease, 
and  the  right  retention  of  breath  affect  the  primary 
vibrations,  but  constrictions  of  the  voice  are  removed, 
faults  corrected,  the  tone  becomes  pure,  and  the  sec- 
ondary vibrations  or  overtones  naturally  follow  when 
imagination  and  feeling  are  present  in  vocal  expres- 
sion. Hence,  all  the  steps  in  vocal  training  thus  far 
taken,  if  mastered,  have  indirectly  but  effectively  begun 
the  work  of  developing  resonance. 

The  exercises  given  in  V.  and  VI.  were  to  establish 
fundamental  conditions  of  tone  by  developing  ease  and 
freedom.  We  find,  however,  a  deeper  co-ordination 
between  the  retention  of  the  breath  and  the  action  of 
the  vocal  bands.  Upon  this  depends  the  parity  or  the 
primary  vibrations  of  the  voice.  Not  only  must  we 
eliminate  nasality,  throatiness,  and  flatness,  and  secure 
ease,  freedom,  and  purity,  but  there  must  be  no  waste 
of  breath  or  faults  of  vibration  in  the  vocal  bands.  All 
purity  depends  upon  the  economy  of  breath.  Breath  is 
economized  by  its  sympathetic  retention. 

It  is  at  the  beginning  of  a  tone  that  breath  is  usually 
wasted.  Voices  are  husky  because  of  a  sluggish  action 
of  the  vocal  bands;  they  do  not  meet  exactly,  are  cov- 
ered with  mucus,  or  swollen;  or  for  some  reason  the 
vibration  is  not  instantly  initiated.  Accordingly,  some 
exercise  is  needed  to  bring  them  together  instantly, 
and  in  co-ordination  with  the  action  of  the  diaphragm. 

Give  an  after  dinner  speech,  a  tribute  to  some  friend 
who    has    died;    speak    upon    many    different    ^.^ 
occasions,  and  note  whether   the   emotion    and 
the  tone-color  differs  on  each  occasion  according  to 
the  subject. 

Take  "  0  "  from  the  first  line  or  "  come  "  or  "  ah  " 
from  the  last  stanza  of  "  April  "  and  make  it    ^ .« 
open  and  free  as  possible.     Repeat  it  many  times 
with  the  emotion  of  the  whole  poem.     Give  it  many 


172  FOUNDATIONS   OF   EXPRESSION 

times  with  different  inflexions,  then  render  the  whole 
poem  and  endeavor  to  apply  this  principle  in  every 
successive  phrase.  Repeat  certain  phrases  with  the 
primary  co-ordinations. 

APRIL. 

O  fair  midspring,  besung  so  oft  and  oft, 

How  can  I  praise  thy  loveliness  enow? 

Thy  sun  that  burns  not,  and  thy  breezes  soft 

That  o'er  the  blossoms  of  the  orchard  blow. 

The  thousand  things  that  'neath  the  young  leaves  grow, 

The  hopes  and  chances  of  the  growing  year, 

Winter  forgotten  long,  and  summer  near. 

When  summer  brings  the  lily  and  the  rose. 
She  brings  us  fear;  her  very  death  she  brings 
Hid  in  her  anxious  heart,  the  forge  of  woes ; 
And,  dull  with  fear,  no  more  the  mavis  sings. 
But  thou  1  thou  diest  not,  but  thy  fresh  life  clings 
About  the  fainting  autumn's  sweet  decay. 
When  in  the  earth  the  hopeful  seed  they  lay. 

Ah !  life  of  all  the  year,  why  yet  do  I 
Amid  thy  snowy  blossoms'  fragrant  drift, 
Still  long  for  that  which  never  draweth  nigh, 
Striving  my  pleasure  from  my  pain  to  sift. 
Some  weight  from  off  my  fluttering  mirth  to  lift? 
—  Now,  when  far  bells  are  ringing,  "  Come  again. 
Come  back,  past  years  I  why  will  ye  pass  in  vain?  " 

WILLIAM  MORRIS. 

Another  exercise  for  developing  purity  is  a  sympa- 
thetic retention  of  the  breath  and  a  more  delicate 
mastery  of  the  conditions  of  laughter. 

In  simple  laughter,  especially  at  its  initiation,  there 
is  always  activity  in  the  middle  of  the  body  caused  by 
sympathetic  retention  of  the  breath  and  openness  of 
the  throat.  In  mock  laughter  there  i«  an  exhausted 
condition  of  the  lungs  which  has  a  degrading  effect 
upon  tone.  Genuine  laughter,  however,  when  care- 
fully practised  without  waste  of  breath  at  the  start, 
tends  to  purify  the  tone  and  to  exorcise  the  inspiratory 
muscles,  especially  those  of  the  diaphragm,  in  properly 
reserving  the  breath. 


SECONDARY   VIBRATIOIfS   OF   TOIfB  I73 

The  part  of  a  laugh  which  needs  study  and  exercise 
for  purity  and  mellowness  is  its  initiation. 

Observe  carefully  a  laugh,  and  then  practise  the 
shortest  laugh  with  a  vowel,  taking  breath,  opening 
the  tone  passage  and  starting  it  at  once.  Give  ^ .« 
the  tone  the  very  slightest  possible  initiation. 
Be  sure  that  it  is  free  and  open  and  full  of  genuine  joy. 
Give  the  following  with  the  simple  joy  of  a  little  child. 
Be  sure  there  is  no  affectation  of  tenderness,  but  gen- 
uine feeling. 

Jack  Frost  is  a  roguish  little  fellow, 

When  the  wintry  winds  begin  to  bellow 
He  flies  like  a  little  bird  through  the  air, 

And  steals  through  the  little  cracks  everywhere. 
He  makes  little  girls  say.  Oh,  oh,  oh! 
He  makes  little  boys  say.  Ho,  ho,  hoi 

Give  the  following  with  the  greatest  possible  deli- 
cacy, expressing  the  fairies'  tenderness  and  joy.     Exag- 
gerate   the    conditions    of    voice,    retention    of  . 
breath,  and  openness  of  the  tone  passage,  but 
lessen  the  volume.    Study  the  fairy  laughter  and  render 
the  whole  poem  with  joy.    Be  sure  to  avoid  affectation. 

FAIRY    SONG. 

We  dance  along,  with  joyous  song, 

By  murmuring  brook  in  meadow  green; 

While  moonbeams  glance,  we  gayly  dance 
Before  our  fairy  king  and  queen. 

We  glide  before  the  silent  door, 

Of  those  we  love,  while  wrapped  in  sleep; 

Through  starlight  gleams,  we  bring  them  dreams, 
Or  quiet  stand  and  vigils  keep. 

But  when  the  lark  sings  o'er  the  dark. 

And  clouds  are  touched  with  morning's  glow; 

With  full  hearts  gay,  we  trip  away, 
All  gaily  laughing  •*  Ho,  ho,  ho." 

S  S  C 

The  more  delicate  the  laughter  the  better.    Avoid 
waste  of  breath,  jerks,  labor,  or  constrictions. 


174 


FOXJWDATIONS   OF   EXPRESSION 


Take  two  or  three  stanzas  of  some  joyous  or  tender 
lyric,  and  speak  the  whole  upon  one  pitch,  giving  the 
vowels  their  proper  quality,  and  the  syllables 
their  right  quantity,  and  sustaining  the  co-or- 
dination of  the  pharynx  and  larynx  with  the  sympa- 
thetic retention  of  the  breath.  After  this  chanting,  the 
poem  should  be  read  with  the  same  conditions. 

THE   BROOK. 

I  come  from  haunts  of  coot  and  hern,  I  make  a  sudden  sally, 
and  sparkle  out  among  the  fern,  to  bicker  down  a  valley.  By 
thirty  hills  I  hurry  down,  or  slip  between  the  ridges ;  by  twenty 
thorps,  a  little  town,  and  half  a  hundred  bridges.  ...  I  chatter 
over  stony  ways,  in  little  sharps  and  trebles,  I  bubble  into  eddy- 
ing  bays,  I  babble  on  the  pebbles.  With  many  a  curve  my 
banks  I  fret,  by  many  a  field  and  fallow,  and  many  a  fairy  fore- 
land set  with  willow-weed  and  mallow.  I  chatter,  chatter,  as 
I  flow  to  join  the  brimming  river ;  for  men  may  come  and  men 
may  go,  but  I  go  on  for  ever. 

I  wind  about,  and  in  and  out,  with  here  a  blossom  sailing, 
and  here  and  there  a  lusly  trout,  and  here  and  there  a  grayling. 
And  here  and  there  a  foamy  flake  upon  me,  as  I  travel,  with 
many  a  silvery  water-break  above  the  golden  gravel,  and  draw 
them  all  along,  and  flow  to  join  the  brimming  river,  for  men 
may  come  and  men  may  go,  but  I  go  on  for  ever. 

I  steal  by  lawns  and  grassy  plots,  i  slide  by  hazel  covers,  1 
move  the  sweet  forget-me-nots  that  grow  for  happy  lovers.  I 
slip,  I  slide,  I  gloom,  I  glance,  among  my  skimming  swallows; 
I  make  the  netted  sunbeam  dance  against  my  sandy  shallows. 
I  miu-mur  under  moon  and  stars  in  brambly  wildernesses,  I 
linger  by  my  shingly  bars,  I  loiter  round  my  cresses.  And 
out  again  I  curve  and  flow  to  join  the  brimming  river;  for 
men  may  come  and  men  may  go,  but  1  go  on  for  ever. 

ALFRED   TENNYSON. 

Then  render  the  whole  poem  or  other  lyrics  full  of 
intense  admiration  of  nature  or  other  joyous  feeling, 
accentuating  the  conditions  of  joy  and  laughter. 

One  direct  and  technical  means  of  improving  the 
overtones  is  to  practise  the  vowels  with  the  sympa- 
thetic, continuous  voice  consonants,  relaxing  the  tone 
passage  and  the  organs  of  articulation  as  much  as 
possible,  while  accentuating  and  harmonizing  the  fun- 


SECONDARY   VIBRATIONS   OF   TONE  I  75 

damental  conditions  of  voice.  There  should  be  a  still 
more  careful  observation  and  elimination  of  all  con- 
strictions. The  tone  must  be  made  as  sympathetic 
and  unmechanical  as  possible,  and  imagination  and 
feeling  should  be  exercised  even  in  the  practice  of  such 
a  technical  exercise. 

Exercises  for  developing  the  sympathetic  vibrations, 
or  resonance  of  the  voice,  should  follow  the  mastery 
of  the  primary  qualities.  Exclamations,  laughter,  and 
other  exercises  for  ease,  freedom,  and  purity  should  be 
practised  with  great  relaxation  of  the  tone  passage  and 
a  sympathetic  and  harmonious  diffusion  of  activity 
through  the  respiratory  muscles  in  retaining  the  breath. 

All  exercises  may  thus  be  given  progressive  advance- 
ment. Each  should  be  founded  upon  one  preceding. 
The  voice  is  not  like  a  building  to  be  constructed  and 
to  admit  of  new  and  sudden  mechanical  changes  and 
treatment,  but  it  demands  stimulation  and  growth. 

One  most  important  fact  in  connection  with  reso- 
nance of  the  voice  is  the  impossibility  of  coloring  loud 
tones;  that  is,  in  proportion  to  the  force  used  to  make 
a  sound  wave  high,  there  is  a  loss  of  power  to  change 
its  shape.  By  taking  something  which  is  very  delicate 
and  sympathetic,  however,  and  accentuating  the  condi- 
tions as  much  as  possible,  while  giving  a  very  delicate 
tone,  the  resonance  will  at  once  begin  to  improve  and 
the  overtones  to  multiply.  This  is  a  most  important 
discovery,  and  has  made  possible  the  improvement  of 
resonance  as  never  before. 

Take  the  following  passages  calling  for  the  most 
delicate  tone  possible.  Select  one  word  or  phrase  such 
as,  "  0  hark  "  from  the  first,  or  "  Ding-dong  "  .  .« 
from  the  second,  increasing  the  amount  of  re- 
tained breath,  opening  and  relaxing  the  tone  passage; 
in  short,  accentuate  the  conditions  of  tone,  and  give  the 
smallest    tone    possible.    Retain    a    great    amount    of 


176  FOUNDATIONS   OF   EXPRESSION 

breath,  keep  the  tone  passage  wide  open,  and  all  parts 
relaxed,  and  give  a  rich,  sympathetic  tone. 

O  hark !  O  hear !  how  thin  and  clear, 

And  thinner,  clearer,  farther  going  1 
O  sweet  and  far,  from  cliff  and  scar. 

The  horns  of  Elfland  faintly  blowing ! 
Blow!  let  us  hear  the  purple  glens  replying: 
Blow,  bugle;  answer,  echoes,  —  dying,  dying,  dying  1 

TENNYSON. 

Full  fathom  five  thy  father  lies ; 

Of  his  bones  are  coral  made; 
Those  are  pearls  that  were  his  eyes; 

Nothing  of  him  that  doth  fade 
But  doth  suffer  a  sea-change 
Into  something  rich  and  strange. 
Sea-nymphs  hoiu-ly  ring  his  knell ; 

Ding-dong. 
Hark !  now  I  hear  them  —  ding,  dong,  bell  I 

"  The  Tempest."  SHAKESPEARE. 

The  practice  of  these  exercises  requires  very  careful 
oversight  on  the  part  of  the  teacher.  After  they  are 
mastered  the  student  should  exercise  imagination  and 
feeling,  and  endeavor  to  express  them  through  tone- 
color. 

In  all  exercises  and  practice  for  resonance  the  stu- 
dent should  give  himself  up  as  much  as  possible  to  his 
imagination  and  feeling,  and  while  accentuating  reten- 
tion of  breath  should  do  this  more  sympathetically  than 
usual.  He  must  relax  the  tone  passage  and  practise 
positive  emotions,  or  accentuate  the  positive  aspects 
of  all  emotions. 

The  chief  dependence  in  developing  resonance  must 
rest  upon  stimulation  and  exercise  through  the  expres- 
sion of  imagination  and  feeling.  For  the  highest  re- 
sults, both  the  method  of  technical  exercises  and  that 
of  expression  are  necessary.  But  technical  exercises 
are  very  subtle  and  difficult,  and  should  not  be  imder- 
taken  with  careless  students  who  have  little  interest 
in  the  improvement  of  the  voice. 


SECONDARY    VIBRATIONS    OF    TOITE  1 77 

Review  the  group  of  contrasted  lines,  p.  i6i,  with 
special  reference  to  the  conditions  and  sympathetic 
vibrations  of  the  voice,  or  arrange  a  new  list  with  still 
more  definite  contrasts.  Use  such  simple  contrasts, 
with  true  imagination  and  feeling,  as  an  introduction  to 
the  following  studies  of  tone-color  and  sympathetic 
vibrations  in  relation  to  single  words. 

Take  the  word  "  home  "  or  "  moon  "  or  "  safe  " 
from  the  following  passage,  and  "  home "  from  the 
second,  and  third,  or  "  hame  "  from  the  fourth 
and  give  them  with  all  possible  tenderness  and 
sympathy.  Let  there  be  perfect  relaxation  of  all  the 
organs  of  voice  and  body,  while  the  breath  is  sym- 
pathetically retained.  After  rendering  the  single  word 
many  times,  read  the  poem  and  express  the  feeling  with 
each  successive  phrase. 

Moon  on  the  field  and  the  foam, 

Moon  on  the  mount  and  the  wold, 
Moon,  bring  him  home!  bring  him  home  I 

Safe  from  the  dark  and  the  c  Id, 
Home,  sweet  moon  bring  him  home, 

Home,  with  the  flock  to  the  fold, 
Safe  from  the  wolf ! 

NOT   KNOWN, 
Home,  home,  away,  and  leave  your  playl 
No,  no,  play  on  till  daylight's  gone. 

HOME,    SWEET   HOME. 

•Mid  pleasures  and  palaces  though  we  may  roam. 

Be  it  ever  so  humble,  there's  no  place  like  home: 

A  charm  from  the  sky  seems  to  hallow  us  there. 

Which,  go  through  the  world,  you'll  not  meet  with  elsewhere. 

Home,  home,  sweet,  sweet  home! 

Be  it  ever  so  humble,  there's  no  place  like  homei 

An  exile  from  home,  pleasure  dazzles  in  vain; 
Oh  I  give  me  my  lowly  thatch 'd  cottage  again; 
The  birds  singing  sweetly,  that  came  to  my  call  — 
Give  me  them,  and  that  peace  of  mind  dearer  than  all. 

Home,  sweet,  sweet,  sweet  home ! 

Be  it  ever  so  humble,  there's  no  place  like  home! 

PAINB. 


178  FOUNDATIONS   OF   EXPRESSION 

Hame,  hame,  hame,  hame  fain  wad  I  be, 

O  hame,  hame,  hame,  to  my  ain  countrie  I 

When  the  flower  is  i'  the  bud,  and  the  leaf  is  on  the  tree, 

The  lark  shall  sing  me  hame  in  my  ain  countrie ; 

Hame,  Hame,  hame,  hame  fain  wad  I  be, 

O  hame,  hame,  hame,  to  my  ain  countrie  1 

"  Hame,  Hame,  Hame."  JAMES   HOGG. 

Some  exercises  for  the  development  of  tone-color 
may  be  delayed  until  now  after  some  understanding 
and  mastery  of  resonance  has  been  acquired.  The 
student  need  not  always  make  a  distinction  between 
the  organic  conditions  of  resonance  and  the  expression 
of  feeling  through  its  modulation,  tone-color.  In  fact 
he  cannot  do  so,  because  the  mind  must  be  centred 
upon  the  situation  and  the  feeling;  and  resonance 
depends  upon  the  diffusion  of  genuine  emotion  and 
cannot  be  made  and  developed  mechanically.  Even 
the  exercises  here  suggested  must  be  temporary.  They 
must  be  immediately  followed  by  practice  in  expressing 
fjnaginative,  emotional,  and  sublime  literature. 

Give  each  of  the  following  "  oh's  "  in  the  spirit  of  the 
poem,  and  then  render  the  clauses  with  the  dis-   ^.^ 
tinct  emotional  coloring  of  each,  and  note  the 
contrast. 

Oh,  Brignall  banks  are  mild  and  fair,  and  Greta  woods  are  green, 
And  you  may  gather  garlands  there  would  grace  a  summer-queen. 

SCOTT 

O  Tiber  1  Father  Tiber!  to  whom  the  Romans  pray, 

A  Roman's  life,  a  Roman's  arms,  take  thou  in  charge  this  day! 

O  for  boyhood's  time  of  June, 
Crowding  years  in  one  brief  moon. 

WHITTIER. 

O  God  Almighty  I  .  .  .  aid  me,  give  me  strength 
Not  to  tell  her,  never  to  let  her  know. 

TENNYSON 

There  groups  of  merry  children  played;  there  youths  and 
maidens,  dreaming,  strayed.  O  precious  hours !  O  golden  prime, 
and  affluence  of  love  and  time  I  Even  as  a  miser  counts  his  gold, 
those  hours  the  ancient  time-piece  told:  "Forever  —  never  J 
Never  —  forever  1 " 

LONGFELLOW 


SECONDARY   VIBRATIONS   OF   TONE  1 79 

O !  how  our  hearts  were  beating,  when,  at  the  dawn  of  day, 
We  saw  the  army  of  the  League  drawn  out  in  long  array. 

MACAU  LAY. 

O  Thou  Eternal  One  I 

0  my  Maria  I  Alas  I  she  married  another.  They  frequently 
do.  I  hope  she  is  happy  —  because  I  am.  Some  people  are 
not  happy.     I  have  noticed  that. 

BROWNE  (Artemus  Ward). 

O,  the  little  birds  sang  east, 
And  the  little  birds  sang  west. 

MRS.  BROWNING. 

O  Caledonia  I  stern  and  wild,  meet  nurse  for  a  poetic  child  1 
land  of  brown  heath  and  shaggy  wood,  land  of  the  mountain 
and  the  flood,  land  of  my  sires  1  what  mortal  hand  can  e'er  untie 
the  filial  band  that  knits  me  to  my  rugged  strand? 

SCOTT. 

Cordelia.  O  thou  good  Kent,  how  shall  I  live  and  work, 
To  match  thy  goodness? 

O  glorious  youth,  that  once  was  mine!  O  high  ideal!  all 
in  vain  ye  enter  at  this  ruined  shrine  whence  worship  ne'er 
shall  rise  again;  the  bat  and  ow'  inhabit  here,  the  snake  nests 
in  the  altar-stone,  the  sacred  vessels  moulder  near,  the  image 
of  thy  God  is  gone. 

LOWELL. 

Take  the  word  "  come  "  from  the  following  extracts 
and  isolate  it  from  the  other  words,  but  give  it  the 
emotion  of  the  poem  in  which  it  occurs.  Ob-  .^^ 
serve  that  in  proportion  as  we  can  command  the 
sympathetic  vibrations  of  the  voice  on  some  one  word, 
we  secure  power  to  express  by  definite  tone-color  a 
great  variety  of  emotions. 


Come,  O  Swallows,  and  stir  the  air, 
For  the  buds  are  all  bursting  unaware. 

Come,  and  trip  it  as  ye  go 
On  the  light,  fantastic  toe  1 


GOSSE. 


MILTON. 


Come,  brothers!  let  me  name  a  spell  shall  rouse  your  souls  again, 
Rise,  hill  and  glen!  rise,  crag  and  wood!  rise  up  on  either  handi  — 
Again  upon  the  Garry's  banks,  on  Scottish  soil  we  stand ! 
Stayed  we  behind,  that  glorious  day,  for  roaring  flood  or  linn? 
The  soul  of  Graeme  is  with  us  still  —  now,  brothers  I  will  ye  in. 


x8o  FOUNDATIONS   OF   EXPRESSION 

Come  from  the  hills  where  your  hirsels  are  grazing, 
Come  from  the  glen  of  the  buck  and  the  roe ; 

Come  to  the  crag  where  the  beacon  is  blazing, 
Come  with  the  buckler,  the  lance,  and  the  bow. 

O  come  in  life,  or  come  in  death ! 
O  lost;  my  love,  Elizabeth. 

JEAN   INGELOW. 

"  Come  back,  come  back,  Horatius !  "  loud  cried  the  fathers  all. 
"  Back,  Lartius  1  back,  Herminius  1  back,  ere  the  ruin  fall !  " 

MACAU LAY 


Come  live  with  me  and  be  my  Love. 


MARLOWE. 


Come,  my  friends, 
'Tis  not  too  late  to  seek  a  newer  world. 

"  Ulysses."  TENNYSON. 

Come,  let  us  go  a-Maying  as  in  the  Long-Ago. 

HENLEY. 

Come,  all  ye  jolly  shepherds,  that  whistle  down  the  glen  i 
I'll  tell  ye  of  a  secret  that  courtiers  dinna  ken: 
"What  is  the  greatest  bliss  that  the  tongue  o'  man  can  name? 
*Tis  to  woo  a  bonnie  lassie  when  the  kye  comes  hame. 

HOGG. 

Come  one,  come  all,  this  rock  shall  fly 
From  its  firm  base  as  soon  as  I. 

'  Lady  of  the  Lake."  SCOTT 

Come  unto  me,  all  ye  that  are  weary  and  are  heavy  ladec 
and  I  wiU  give  you  rest. 

COME    HOME. 

Come  home. 
Would  I  could  send  my  spirit  o'er  the  deep, 

Would  I  could  wing  it  like  a  bird  to  thee, 
To  commune  with  thy  thoughts,  to  fill  thy  sleep 

With  these  unwearying  words  of  melody, 
Brother,  come  home. 

Come  home. 
Come  to  the  hearth-stone  of  thy  earlier  days, 

Come  to  the  ark,  like  the  o'erwearied  dove, 
Come  with  the  sunlight  of  thy  heart's  warm  rays, 

Come  to  the  fire-side  circle  of  thy  love. 
Brother^  come  home. 


SECONDARY   VIBRATIONS   OF   TONE  l8l 

Come  home. 
Would  I  could  send  my  spirit  o'er  the  deep, 
Would  I  could  wing  it  like  a  bird  to  thee, 
To  commune  with  thy  thoughts,  to  fill  thy  sleep 
With  these  unwearying  words  of  melody. 
Brother,  come  home. 

MRS.   HEMANS 
Come,  come  o'er  the  sea. 
Maiden,  with  me. 
Come  wherever  the  wild  wind  blows; 
Seasons  may  roll. 
But  the  true  soul 
Burns  the  same,  where'er  it  goes. 

A  great  help  in  the  development  of  resonance  of 
voice,  as  also  in  getting  command  of  emotion  and  its 
expression,  is  the  practice  of  extreme  transitions 
in  the  same  poem  or  passage.  There  should  be 
not  only  contrast  in  color  but  changes  in  key  and 
movement.  Every  possible  variation  of  voice  should 
be  adopted  that  will  express  the  transition. 

From  that  chamber,  clothed  in  white, 
The  bride  came  forth  on  her  wedding  night; 
There,  in  that  silent  room  below. 
The  dead  lay,  in  his  shroud  of  snow; 
And,  in  the  hush  that  followed  the  prayer. 
Was  heard  the  old  clock  on  the  stair,  — 

"  Forever  —  never  I 

Never  —  forever  1  " 

LONGFELLOW. 

How  do  admiration  of  nature,  love  and  tenderness 
soften  the  voice?  Note  that  intensely  tender  emotion 
diffuses  itself  through  the  body,  and  that  firm,  resolute, 
muscular  action  expresses  anger  and  antagonism, 
while  gentleness  and  tenderness  relax  and  cause  sym- 
pathetic expansion. 

Render  joyous  lyrics  and  those  expressing  admira- 
tion of  nature  or  deep  feeling,  intensely  realiz-   .^ 
ing  the  imaginative  situation,  and  giving  up  the 
whole  breathing  and  body  to  the  sympathetic  domina' 
tion  of  emotion. 

Oh,  the  bells  of  Shandon  sound  far  more  grand  on 
The  pleasant  waters  ot  the  tiver  Lee. 


iSa  FOUNDATIONS   OF   EXPRESSION 

Ah  I  'tis  like  a  tale  of  olden  time,  long,  long  ago, 
When  the  world  was  in  its  golden  prime,  and  Love  was  lord  below. 
Every  vein  of  earth  was  dancing  with  spring's  new  wine ; 
Twas  the  pleasant  time  of  flowers,  when  I  met  you,  love  mine. 
Ah  I  some  spirit  sure  was  staying  out  of  heaven,  that  day, 
When  I  met  you,  love,  a-Maying  in  that  merry,  merry  May. 

Little  heart  it  shyly  opened  its  red  leaves,  love  lore ; 
Like  a  rose  that  must  be  ripened  to  the  dainty,  dainty  core ; 
But  its  beauties  daily  brighten,  and  it  blooms  so  dear,  — 
Though  a  many  winters  whiten,  I  go  Maying  all  the  year. 
And  my  proud  heart  will  be  praying  blessings  on  the  day 
When  I  met  you,  sweet,  a-Maying,  in  the  merry,  merry  May. 

"A  Love  Lyric."  GERALD  MASSEY. 

THE  LIGHT   OF   OTHER   DAYS. 

Oft  in  the  stilly  night  ere  slumber's  chain  has  bound  me,  fond 
Memory  brings  the  light  of  other  days  around  me:  the  smiles, 
the  tears  of  boyhood's  years,  the  words  of  love  then  spoken! 
The  eyes  that  shone,  now  dimm'd  and  gone,  the  cheerful  hearts 
now  broken !  Thus  in  the  stilly  night  ere  slumber's  chain  has 
bound  me,  sad  Memory  brings  the  light  of  other  days  around  me. 

When  I  remember  all  the  friends  so  link'd  together  I've  seen 
around  me  fall  like  leaves  in  wintry  weather,  I  feel  like  one  who 
treads  alone  some  banquet-hall  deserted,  whose  lights  are  fled, 
whose  garland's  dead,  and  all  but  he  departed !  Thus  in  the  stilly 
night  ere  slumber's  chain  has  bound  me,  sad  Memory  brings 
the  light  of  other  days  around  me. 

THOMAS   MOORE. 

Speak    upon    some    subject    with    earnestness    and 
abandon,  allowing  the  emotion  to  establish  such   .  _„ 
conditions  that  the  texture  of  the  voice  is  modu- 
lated by  feeling. 

Vibration  is  the  manifestation  of  force  by  pulsa- 
tions. Sound  waves  denote  the  transmission  of  pulsa- 
tions called  soimd  to  the  ear.  Overtones,  or  har- 
monics, are  various  higher  pitches  produced  by  more 
rapid  vibrations  and  shorter  sound  waves;  they  are 
heard  simultaneously  with  the  fundamental  tone. 
Tone-color,  as  here  used,  is  the  emotional  modulation 
of  these  overtones. 


XIV. 
PANTOMIMIC   CONDITIONS  OF  TONE. 

Something  has  already  been  said  (VII.)  regarding  the 
importance  to  tone  of  the  conditions  of  the  whole  body, 
and  study  of  the  sympathetic  vibrations  of  the  voice 
should  make  this  fact  clearer.  The  body  acts  as  the 
soimding  board  of  the  voice.  The  string  of  the  violin 
soimded  alone  is  crux^^e  as  compared  with  its  twenty-one 
overtones  when  in  its  proper  place.  The  body  is  much 
more  vitally  connected  with  the  voice  than  the  violin 
with  its  string  and  tone> 

The  tone  initiated  by  the  vocal  bands  receives  rein- 
forcement by  sympathetic  vibrations  from  the  body. 
The  chest  is  the  resonance  chamber.  Every  part  of 
the  head  affects  the  tone.  No  man  can  cramp  even  his 
hand  or  his  foot,  or  throw  his  body  out  of  poise  with- 
out more  or  less  perverting  his  tone,  or  bring  all  parts 
into  sympathetic  relations  without  improving  the  vibra- 
tions of  his  voice. 

The  voice  is  a  part ;  the  body  is  the  whole.  Emotion 
diffuses  itself  naturally  through  the  whole  organism, 
and  as  will  be  shown  later,  most  directly  expresses  itself 
through  action.  Tone  is  reflex  action  from  move- 
ments, positions,  and  textures  of  the  muscles  caused 
by  feeling. 

The  student  should  endeavor  to  find  whether  these 
statements  are  true.  He  r.hould  not  contentedly  accept 
the  universal  neglect  of  this  subject,  but  should  inves- 
tigate for  himself.  He  should,  however,  remember  that 
the  body,  after  long  years  of  stiffness  and  neglect,  may 
not  be  in  a  responsive  condition,  and  he  should  perse- 
vere imtil  he  develops  the  healthful,  harmonious,  and 
sympathetic  action  of  his  body  in  producing  tone. 

»83 


184  FOUNDATIONS   OF   EXPRESSION 

The  importance  of  the  whole  body  in  relation  to 
tone  can  be  seen  by  some  contrasts  or  sudden  transi- 
tions. Observe  any  person  with  a  very  hard,  cold 
tone,  and  note  that  there  are  generally  constrictions  in 
his  face  around  the  eyes,  and  that  his  action  is  angular 
and  jerky.  Note  also  that  voices  which  are  pleasing, 
sympathetic,  and  rich  in  vibration  are  found  in  persons 
with  a  corresponding  expression  in  the  face. 

Make  also  a  few  studies  or  experiments  in  relation 
to  tone. 

Render  the  following  passage  with  as  much  tender- 
ness as  possible.     Then  cramp  the  muscles  of  the  face, 
hands  and  body,  and    note  the   importance  of   ^_- 
suggesting  the  same    feeling  in  these;  and  that 
the  voice  necessarily  responds  to  the  condition  of  the 
muscles. 

Hope,  like  the  glimmering  taper's  light,  adorns  and  cheers  the  way; 
And  still,  as  darker  grows  the  night,  emits  a  brighter  day. 

GOLDSMITH. 

Give  the  words  of  a  noble  character  with  a  dignified 
bearing  of  the  body;  then  cramp  the  body  and   ^.. 
face  into  the  attitude  of  a  villain  and  note  the 
impossibility  of  giving  the  words  in  such  a  way  as  to 
suggest  some  ideal  personage. 

All  things  are  ready  if  our  minds  be  so. 

He  that  outlives  this  day,  and  comes  safe  home, 

Will  stand  a  tip-toe  when  this  day  is  nam'd, 

And  rouse  him  at  the  name  of  Crispian. 

He  that  shall  live  this  day,  and  see  old  age. 

Will  yearly  on  the  vigil  feast  his  friends, 

And  say  —  To-morrow  is  Saint  Crispian ; 

Then  will  he  strip  his  sleeve,  and  show  his  scars, 

And  say,  These  wounds  I  had  on  Crispin's  day. 

Old  men  forget ;  ye  all  shall  be  forgot. 

But  he'll  remember,  with  advantages. 

What  feats  he  did  that  day;  then  shall  our  names. 

Familiar  in  their  mouths  as  household  words,  — 

Harry  the  king,  Bedford  and  Exeter, 

Warwick  and  Talbot,  Salisbury  and  Gloster,  — 


PANTOMIMIC    CONDITIONS    OF    TONE  1 85 

Be  in  their  flowing  cups  freshly  remembered. 

This  story  shall  the  good  man  teach  his  son; 

And  Crispin  Crispian  shall  ne'er  go  by, 

From  this  day  to  the  ending  of  the  world, 

But  we  in  it  shall  be  remembered,  — 

We  few,  we  happy  few,  we  band  of  brothers; 

For  he  to-day  that  sheds  his  blood  with  me, 

Shall  be  my  brother;  be  he  ne'er  so  vile. 

This  day  shall  gentle  his  condition: 

And  gentlemen  in  England  now  a-bed, 

Shall  think  themselves  accurs'd,  they  were  not  here; 

And  hold  their  manhoods  cheap,  while  any  speaks 

That  fought  with  us  upon  Saint  Crispin's  day. 

"  Henry  V."  (.Before  the  Battle  of  Agincourt.)  .SHAK?:srF.ARF,. 

From  these  observations  the  student  should  at  least 
be  convinced  that  the  training  of  the  voice  is  not  local, 
or  something  separated  from  mind  and  body,  but 
directly  and  intimately  connected  with  both.  To  im- 
prove the  voice  demands  attention  to  the  actions  of 
the  mind  and  also  to  the  responsive  conditions  of  the 
organism.  A  proper  manner  of  opening  the  tone  pas- 
sage and  of  breathing  are  only  the  first  and  the  most 
necessary  and  conscious  conditions.  But  by  working 
directly  upon  these  we  find  a  place  at  which  to  begin 
the  work  of  vocal  training. 

The  rendering  of  sympathetic  extracts,  and  of  lyrics 
containing  profound  feeling,  will  awaken  the  student, 
not  only  to  a  realization  of  the  possibilities  of  expres- 
sion, but  also  to  the  nature  and  function  of  his  voice. 

Great  help  will  come  to  the  student  from  the  mas- 
tery of  surrendering  himself  to  sympathetic  feeling. 
Many  exercises  can  be  given  for  this  surrender  of  the 
various  parts  of  the  body,  but  they  are  too  complicated 
for  discussion  in  this  place.  They  may  be  found 
explained  in  "  Principles  of  Training."  The  student 
should  be  able  to  give  up  any  part  of  his  body  to 
gravitation  and  also  to  his  own  feeling. 

Realize  sympathetically  the  loving  character  of  the 
speaker   in  "  John  Anderson,  My  Jo."     Give   up   the 


1 86  FOUNDATIONS   OF   EXPRESSION 

body  to  the  imaginative,  emotional,  or  dramatic  realiza- 
tion of  the  character.    Do  not  manipulate  the 
voice  locally,  but  allow  it  to  express  the  sym- 
pathetic identification  of  the  organism  as  a  whole  with 
thought  and  feeling,  and  give  every  idea  true  expression. 

JOHN   ANDERSON,   MY   JO. 

John  Anderson,  my  jo,  John, 

When  we  were  first  acquent, 
Your  locks  were  like  the  raven, 

Your  bonnie  brow  was  brent; 
But  now  your  brow  is  beld,  John, 

Your  locks  are  like  the  snaw; 
But  blessings  on  yoxir  frosty  pow, 

John  Anderson,  my  jo. 

John  Anderson,  my  jo,  John, 

We  clamb  the  hill  thegither; 
And  monie  a  canty  day,  John, 

We've  had  wi'  ane  anither: 
Now  we  maun  totter  down,  John, 

But  hand  in  hand  we'll  go, 
And  sleep  thegither  at  the  foot, 

John  Anderson,  my  jo. 

BURNS. 

Give  a  few  words  of  the  character  of  "  Old  Adam.  * 
Relax  sympathetically  the  body  and  identify  your-   ..  _« 
self  with  the  old  man's  love  for  Orlando. 

Orlando.    Who's  there? 
Adam.    What,  my  young  master?  —  O  my  gentle  master  1 
O  my  sweet  master !     O  you  memory 
Of  old  Sir  Rowland  1  why,  what  make  you  here? 
Orlando.    Why,  what's  the  matter? 
Adam.    O  unhappy  youth. 

Come  not  within  these  doors ;  within  this  roof 
The  enemy  of  all  your  graces  lives. 

"  As  You  Like  It." 

Song,  as  an  art,  is  dependent  upon  sympathetic  condi- 
tions of  the  body  in  relation  to  being.  The  reason  why 
song  is  such  a  mechanical  art  at  the  present  is  that  the 
voice  is  only  trained  locally.  There  is  no  awakening 
of  the  imagination  and  feeling.    But  in  a  genuine  art 


PANTOMIMIC    CONDITIONS    OF    TONE  1 87 

of  song  the  conditions  of  being,  of  body,  and  of  tone  are 
the  direct  result  of  imaginative  feeling  which  so  domi- 
nates the  person  as  to  unfold  the  sympathetic  vibra- 
tions of  the  voice. 

A  realisation  of  the  nature  of  song  and  of  lyric  and 
dramatic  passages,  with  practice  of  single  words  or 
lines,  as  well  as  singing,  will  gradually  give  great 
mellowness  and  richness  to  the  voice.  If,  on  the  con- 
trary, the  body  is  constricted  and  cramped ;  if  there  is  a 
cold,  intellectual,  or  dictatorial  expression  of  thought, 
as  is  often  the  case  with  teachers  and  speakers,  the 
voice  may  harden,  lose  its  overtones,  and  become  not 
only  disagreeable  to  the  listener,  but  affect  the  speak- 
er's health  unfavorably. 

This  method  of  attention  to  the  body  as  a  whole  is 
a  great  help  in  correcting  hardness,  narrowness,  and 
throatiness,  and  nearly  every  fault  of  the  voice,  espe- 
cially those  associated  with  the  lessening  of  vibration 
or  resonance. 

The  primary  cause  of  any  fault  will  always  be  found 
in  the  mind,  in  the  habitual  thought  and  feeling ;  but 
this  mental  or  emotional  condition  expresses  itself  in 
certain  conditions  of  the  body,  which  must  be  elimi- 
nated, together  with  the  primary  cause,  before  there 
can  be  permanent  improvement  of  the  tone. 

Nasality,  which  seems  to  be  a  mere  local  constric- 
tion at  the  back  of  the  tongue  and  so^t  palate,  is  often 
associated  with  constriction  in  the  face.  No  one  can 
draw  down  the  outer  comers  of  his  nostrils  and  not 
produce  a  nasal  tone. 

In  the  practice  of  all  vocal  exercises  and  in  reading, 
all  constrictions,  whether  permanent  or  temporarily 
expressive  of  unnecessary  effort,  should  be  eliminated 
from  the  body,  and  especially  from  the  voice,  because  in 
every  case  such  constrictions  are  associated  with  some 
limitation  or  perversion  of  the  sympathetic  vibrations. 


l8S  FOUNDATIONS   OF   EXPRESSION 

Render  in  contrast  the  characters  of  Launcelot  and 
his  father.  Do  not  locally  manipulate  the  voice,  but 
be  sure  that  the  sympathetic  identification  with 
each  character  causes  a  change  through  the  body 
by  the  spontaneous  diffusion  of  imagination  and  emo- 
tion. Be  careful  to  relax  the  body  in  giving  the  words 
of  old  Gobbo.  Note  especially  the  contrast  between  the 
assumed  pride  and  haughtiness  of  Launcelot  and  the 
relaxed  and  feeble  condition  of  the  body  of  old  Gobbo. 

Gobbo.  Master  young  man,  you,  I  pray  you,  which  is  the 
way  to  Master  Jew's? 

Lmmcelot.  {Aside.)  O  Heavens,  this  is  my  true-begotten 
father  1  who,  being  more  than  sand-blind,  high -gravel-blind, 
knows  me  not.     I  will  try  confusions  with  him. 

"  Merchant  of  Venice."  SHAKESPEARE. 

Read  the  words  of  some  familiar  song  as  sympa- 
thetically as  possible.     Realize  the  ideas  so  in-   .,_- 
tensely  that  the  body  becomes  relaxed  and  per- 
meated with  feeling  to  its  farthest  extremities. 

THE   LOST    SHEEP. 

There  were  ninety  and  nine  that  safely  lay  in  the  shelter  of  the 
fold ;  but  one  was  out  on  the  hills  away,  far  off  from  the  gates  of 
gold,  away  on  the  mountain  wild  and  bare,  away  from  the 
tender  Shepherd's  care.  "  Lord,  thou  hast  here  thy  ninety  and 
nine:  are  they  not  enough  for  thee?  "  but  the  Shepherd  made 
answer:  "  'Tis  of  mine  has  wandered  away  from  me;  and  al- 
though the  road  be  rough  and  steep  I  go  to  the  desert  to  find  my 
sheep."  But  none  of  the  ransomed  ever  knew  how  deep  were 
the  waters  crossed,  nor  how  dark  was  the  night  when  the  Lord 
passed  through  ere  he  found  His  sheep  that  was  lost.  Out  in 
the  desert  he  heard  its  cry  —  sick  and  helpless,  and  ready  to  die. 
"  Lord,  whence  are  those  blood-drops  all  the  way,  that  mark 
out  the  mountain  track?  "  "  They  were  shed  for  one  who  had 
gone  astray  ere  the  Shepherd  could  bring  him  back."  "  Lord, 
whence  are  thy  hands  so  rent  and  torn?  They  are  pierced 
to-night  by  many  a  thorn."  But  all  through  the  mountains, 
thunder-riven,  and  up  from  the  rocky  steep,  there  rose  a  cry 
to  the  gate  of  heaven,  "  Rejoice !  I  have  found  my  sheep !  " 
And  the  angels  echoed  around  the  throne,  "  Rejoice,  for  the 
Lord  brings  back  His  own!  " 
•  The  Ninety  and  Nine."  ELIZABETH   CEVILIA   CLEPHANE. 


PANTOMIMIC   COITOITIONS   OF   TONE  1 89 

Now  all  the  publicans  and  sinners  were  drawing  near  unto 
him  to  hear  him.  And  both  the  Pharisees  and  the  scribes 
murmured,  saying,  This  man  receiveth  sinners,  and  eateth  with 
them.  And  he  spake  unto  them  this  parable,  saying.  What 
man  of  you,  having  a  hundred  sheep,  and  having  lost  one  of 
them,  doth  not  leave  the  ninety  and  nine  in  the  wilderness,  and 
go  after  that  v/hich  is  lost,  until  he  find  it?  And  when  he  hath 
found  it,  he  layeth  it  on  his  shoulders,  rejoicing.  And  when  he 
Cometh  home,  he  calleth  together  his  friends  and  his  neighbors, 
saying  unto  them.  Rejoice  with  me,  for  I  have  found  my  sheep 
which  was  lost.  I  say  unto  you,  that  even  so  there  shall  be  joy 
in  heaven  over  one  sinner  that  repenteth,  more  than  over  ninety 
and  nine  righteous  persons,  who  need  no  repentance. 

LUKE. 

It  is  a  good  exercise  also  to  sing  some  familiar  song 
like  the  preceding,  with  genuine  action;  not  with  too 
much  gesture  and  motion,  but  with  deep  passion,  and 
especially  with  such  conditions  of  emotion  as  are  ex- 
pressed in  song,  and  shown  by  long  sustained  attitudes 
or  expressive  positions. 

Render  the  following  speech  of  Laertes  and  note  the 
sudden  transition  from  antagonism  to  tenderness;  also 
the  change  of  the  body  during  a  long  pause. 
Observe  that  a  long  pause  with  complete  change 
in  the  texture  and  action  of  the  body  under  dominion 
of  intense  feeling  is  necessary  to  change  in  tone.  Notice 
especially  the  transition  before  "  0  rose  of  May !  "  and 
render  this  and  the  next  line  with  all  the  love  and 
tenderness  of  a  brother.  Then  observe  the  recoil 
before  the  word  following: 

Laertes      How  nowl  what  noise  is  that?  —  {Rc-eulcr  Ophelia.) 
O  heat,  dry  up  my  brains  1  tears  seven  times  salt, 
Burn  out  the  sense  and  virtue  of  mine  eye !  — 
By  heaven,  thy  madness  shall  be  paid  by  weight, 
Till  our  scale  turn  the  beam.     O  rose  of  May  I 
Dear  maid,  kind  sister,  sweet  Ophelia  I  — 
O  heavens  1  is't  possible,  a  young  maid's  wits 
Should  be  as  mortal  as  an  old  man's  life? 

"Hamlet."  SH.4KESPEARE. 

Study  the  mental  actions  in  some  soliloquy  of  Shakes- 
peare, in  a  dramatic  speech,  or  in  some  part  of  an 


190  FOUWDATIONS   OF   EXPRESSION 

oration  or  story,   and    observe  carefully  every  varia- 
tion in  thought,  feeling,  and  situation.    Be  sure   ^«^ 
that  action  precedes  the  speech  and  establishes 
conditions  for  the  tone. 

All  true  songs  or  lyrics  express  profound  feelings  and 
conditions.  Realize  the  spirit  of  one  that  is  familiar 
and  render  it  as  sympathetically  as  possible,  keeping 
the  body  relaxed  and  allowing  the  feeling  to  permeate 
its  farthest  extremities  and  keeping  the  conditions  of 
texture  uniform.  This  will  gradually  give  the  greatest 
possible  mellowness  and  richness  to  the  voice.  If,  on 
the  contrary,  the  body  is  constricted  or  cramped  in  any 
way,  observe  the  effect  upon  the  tone.  Hardness, 
narrowness,  huskiness  or  nasality,  usually,  and  in 
every  case  a  lessening  of  the  resonance,  will  result 
from  constriction  of  some  seemingly  insignificant  part. 

Render  some  song  or  lyric  full  of  deep  emotion,  real- 
izing the  situation  and  greatly  itensifying  the  feeling, 
but  do  not  allow  inflexions  or  normal  modula-  .«^ 
tions  of  voice  to  change.  Observe  meanwhile, 
that  deep  realization  of  feeling,  when  diffused  through 
the  body,  causes  richer  overtones.  The  voice  becomes 
soft,  relaxed,  and  expressive  of  sympathy. 

O,  wert  thou  in  the  cauld  blast, 

On  yonder  lea,  on  yonder  lea, 
My  plaidie  to  the  angry  airt, 

I'd  shelter  thee,  I'd  shelter  thee. 
Or  did  misfortune's  bitter  storms 

Around  thee  blaw,  around  thee  blaw, 
Thy  shield  should  be  my  bosom. 

To  share  it  a',  to  share  it  a'. 

Or  were  I  in  the  wildest  waste. 

Of  earth  and  air,  of  earth  and  air, 
The  desert  were  a  paradise, 

If  thou  wert  there,  if  thou  wert  there. 
Or  were  I  monarch  of  the  globe, 

Wi'  thee  to  reign,  wi'  thee  to  reign, 
The  only  jewel  in  my  crown, 

Wad  be  my  queen,  wad  be  my  queen. 

BURNS. 


PANTOMIMIC   CONDITIONS   OP   TONE 


I9J 


Ah  I  my  heart  is  pained  with  throbbing, 

Throbbing  for  the  May,  — 
Throbbing  for  the  seaside  billows, 
Or  the  water-wooing  willows, 

Where  in  laughing  and  in  sobbing 

Glide  the  streams  away. 
Ah  I  my  heart,  my  heart  is  throbbing, 

Throbbing  for  the  May. 

DENIS  F.  McCarthy 

Oh,  if  I  could  only  make  you  see 
The  clear  blue  eyes,  the  tender  smile, 
The  sovereign  sweetness,  the  gentle  grace, 
The  woman's  soul  and  the  angel's  face, 
That  are  beaming  on  me  all  the  while  I 
I  need  not  speak  these  foolish  words; 
Yet  one  word  tells  you  all  I  would  say^  — 
She  is  my  mother ;  you  will  agree 
That  all  the  rest  may  be  thrown  away. 

A   BALLAD    OF    THE    ROAD. 

Oh,  a  gypsy  longing  stirs  your  heart 

When  Autumn's  sounding  the  rover's  call ! 

**  Oh,  leave  the  city  and  leave  the  mart, 

Come  out,  come  out  where  the  red  leaves  fall, 
And  asters  flame  by  each  gray  stone  wall  I 

Have  done  with  cares  that  fetter  and  goad. 
Heed  ye  and  harken  ye  one  and  all. 

And  know  the  joys  of  the  winding  road  I  '* 

A  veil  of  purple  lies  on  the  hills, 

Your  step  moves  swift  to  some  unknown  air  ~ 
Forgotten  music  of  boughs  and  rills  — 

The  oaks  are  russet,  the  maples  flare. 

The  sumach's  splendor  glows  here  and  there, 
And  your  weary  heart  has  slipped  its  load. 

Oh,  bright  the  sunlight  as  on  you  fare 
Tasting  the  joys  of  the  winding  road  1 

Odors  of  e     th  when  the  wild  winds  blow. 

New  views  to  greet  you  at  each  hill's  crest. 
Color  and  beauty  where'er  you  go  — 

These  shall  add  to  your  joiu^ney's  zest. 

And  when  the  daylight  dies  in  the  west 
A  star-hung  roof  for  your  night's  abode, 

A  bed  of  pine  and  a  dreamless  rest  — 
These  are  the  jovs  of  the  winding  road. 


192  FOUNDATIONS   OF   EXPRESSION 

Oh,  ye  of  the  town  who  do  not  know 

How  blithe  and  free  is  the  rover's  code  I 
Come  out,  come  out  where  the  glad  winds  blow  I 

There's  joy  for  all  on  the  winding  road! 

From  "Town  and  Country."  CONSTANCE   d'ARCY   MACKAY= 

Announce  something  to  an  audience,  and  note  the 
negative  or  neutral  attitude  of  the  mind,  and  the  con- 
sequent absence  of  voice  modulations.  Then  ..-« 
speak  upon  some  moving  subject,  giving  up  the 
whole  being  and  body  to  the  domination  of  feeling,  and 
observe  the  difference  in  the  modulations  of  the 
voice. 

SONG   OF   THE   MOUNTAIN. 

Son  of  all  the  cities,  with  their  culture  and  their  code, 

What  brings  you  to  my  doorway  by  the  lone  and  starry  road? 

You  may  come  with  seven  pack-mules,  you  may  walk  or  steam  or 

ride, 
But  you'll  never,  never  know  me  till  you  come  without  a  guide. 

You  may  come  with  rod  and  level,  with  compass  and  with  chain, 
To  parcel  me  for  profit  and  barter  me  for  gain ; 
You  may  tell  my  age  in  eons  by  the  scars  on  drift  and  slide; 
But  you'll  never,  never  know  me  till  you  learn  how  I  abide. 

You  may  range  my  slopes  for  silver ;  you  may  wash  my  sands  for 

gold; 
You  may  tally  every  jewel,  till  my  gems  have  all  been  told ; 
You  may  cross  my  wildest  canon,  you  may  top  my  last  divide, 
But  you'll  never,  never  know  me  till  you  watch  me  wonder-eyed. 

You  must  sleep  for  nights  together,  with  your  head  upon  my  breast, 
The  companion  of  my  silence,  the  receiver  of  my  rest. 
You  may  come  with  all  your  wisdom,  to  subdue  me  in  your  pride, 
But  you'll  never,  never  know  me  till  you  love  me  as  a  bride. 

BLISS   CARMAN. 

Sympathetic  Vibrations  result  primarily  from 
sympathetic  conditions  of  the  body,  the  degree  of 
activity,  and  especially  the  harmonious  oneness  of 
texture  caused  by  diffusion  of  emotion.  The  discor- 
dant or  abnormal  constriction  of  certain  parts,  expres- 
sing a  chaotic  condition  of  thought  and  feeling,  is  the 
chief  cause  of  discordant  overtones. 


XV. 
MOULDING  TONE   INTO  WORDS. 

As  breath  is  the  material  of  tone,  so  tone  is  the 
material  for  speech. 

Tone  is  modulated  in  various  ways,  by  the  lips,  and 
by  the  tip  and  other  parts  of  the  tongue  in  relation  to 
the  teeth,  roof  of  the  mouth,  and  soft  palate. 

I.  Elements  of  Speech.  Speech  is  roughly  divided 
into  vowels,  consonants,  and  glides.  A  vowel  (from 
"  voco,"  to  call,  whence  also  comes  the  word  "  voice  ") 
consists  of  an  uninterrupted  outflow  of  tone.  It  is 
caused  by  the  shape  of  the  mouth  cavity,  the  outline 
being  formed  by  the  position  of  the  tongue,  occasionally 
with  the  help  of  the  lips.  A  consonant  (literally 
"  sounding  with  ")  is  a  quick  obstructive  action  of  the 
organs  more  or  less  in  juxtaposition,  and  is  always 
accompanied  by  a  vowel.  A  vowel  can  form  a  syllable 
but  not  a  consonant.  A  consonant  has  a  certain 
obstructive  vibration;  a  vowel  a  free  and  open  vibra- 
tion. A  glide  has  the  character  of  a  vowel,  but  is 
indefinite,  secondary  to  a  vowel,  and  cannot  form  a 
syllable.  As  an  example,  in  the  word  "  dare,"  the  central 
soimd,  the  fimdamental  part  of  the  word,  is  the  vowel ; 
"  d  "  is  the  consonant,  and  the  vowel  is  followed  by  a 
glide,  —  the  final  "  r  "  has  become,  in  good  English, 
rather  a  glide  than  a  consonant. 

Prof.  Melville  Bell  distinguished  three  parts  of  the 
tongue,  —  the  front,  the  middle,  and  the  back,  — 
which  become  primarily  operative  in  shaping  the  tone 
passage,  and  give  rise  to  three  classes  of  vowels.  The 
lips  may  or  may  not  be  active,  which  would  double 
the  possible  number  of  vowels.  In  a  few  languages  the 
soft  palate  also  acts,  which  would  also  increase  the 

«93 


194  FOUNDATIONS    OF    EXPRESSION 

number.  Each  part  of  the  tongue  is  given  different 
degrees  of  height,  and  also  a  widening  action,  and  all 
these  modify  the  vowels  so  greatly  that,  aside  from 
nasal  action,  thirty-six  distinct  vowel  positions  are 
distinguished,  which  may  be  indicated  by  the  chart 
on  the  opposite  page. 

Great  difficulty  in  studying  both  consonants  and 
vowels  arises  from  the  fact  that  we  have  over  twice  as 
many  sounds  as  we  have  letters  to  stand  for  them. 
Hence  the  great  confusion  in  spelling,  and  the  failure 
even  on  the  part  of  many  educated  persons  to  know 
the  sounds  of  their  language. 

The  consonants  are  more  simple  than  the  vowels. 
They  are  divided  into  pharyngeal,  or  those  having  no 
vocal  element  except  what  is  found  in  the  vowel  sup- 
porting them,  and  into  laryngeal,  or  those  which  have 
voice  during  their  obstructive  action.  The  first  are 
often  called  breath  consonants,  the  second  sub-vocals, 
or  voice  consonants. 

We  have  also  three  or  more  elements  produced  with 
the  tongue  in  different  positions,  and  with  a  downward 
action  of  the  soft  palate,  which  are  called  nasals. 

BREATH  VOCAL 

P     Pay  B     Bay 

T     Tie  D     Die 

K    Kick  G     Gig 

Wh     Why  Whine  W     Way  Wine. 

F     Fie  Fine  V     Vie  Vine 

Th     Thigh  Th    (Dh)  Thy 

S     Seal  Z     Zeal 

Sh     Rush  Zh     Rouge 

Rh     True  R     Drew 

Lh     Clue  Flow  L     Glue  Blow 

y     Hew  Y     You 

H 

Tsh     Chew  Dzh     Jew 

(Mh)     (Smith)  M     Myth  My 

(Nh)     (Tent)  N     Ten  Nigh 

(Ngh)     (Kink)  Vg     King 


MOULDIlfG   TONE    IlfTO   WORDS 


195 


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196  FOUNDATIONS    OF    EXPRESSION 

The  first  step  in  the  improvement  of  speech  must  be 
the  development  of  open,  free,  rich  vowels.  In  fact, 
we  must  go  back  of  these  to  general  voice  development. 
Then  with  good  tone  as  the  material  the  development 
of  speech  is  a  simple  matter. 

Some  attention  should  be  given  from  the  first  to 
speech,  especially  to  open,  free  vowels,  in  the  develop- 
ment of  the  voice.  But  at  this  stage  it  is  well  to  give 
more  direct  application  to  the  improvement  of  speech. 

Vowels  may  be  given  correctly,  that  is,  the  shape  of 
the  tone  passage  may  be  correct  for  "  ah,"  "  e,"  or 
"o,"  but  the  chamber  be  too  small.  Correctness  of 
position  should  not  be  the  only  aim ;  the  vowel  chamber 
must  be  also  large  and  free.  Shape  gives  correctness 
of  vowels,  while  largeness  of  the  chamber  is  favorable 
to  resonance  or  sympathetic  vibrations,  and  makes 
speech  far  more  pleasing. 

To  improve  speech,  observe  which  vowel  is  made 
best,  and  from  this  endeavor  to  become  conscious  of 
those  which  are  narrow  and  constricted.  It  is  usually 
best  to  begin  with  the  mother  vowel  "  ah  "  and  note 
that  the  whole  tone  passage  is  relaxed,  that  the  tongue 
is  passive  in  the  mouth,  and  that  "  ah  "  can  be  given 
with  great  openness  and  freedom. 

This  should  be  done  at  the  beginning  of  the  work 
in  voice,  but  should  receive  attention  as  the  basis  of 
all  exercises  for  speech  training.  Attention  should  also 
be  given  to  the  openness  and  freedom  of  the  vowel 
chambers  in  order  to  correct  any  tendencies  to  throati- 
ness,  nasality,  and  flatness.  If  the  vowels  are  free  and 
properly  uttered  all  faults  of  voice  will  be  eliminated. 
Yet  work  upon  the  vowels  alone  will  rarely  correct 
these  faults.  They  are  more  quickly  and  thoroughly 
eradicated  by  beginning  the  work  from  within  outward, 
effecting  their  removal  in  direct  connection  with  the 
establishment  of  fundamental  conditions  of  voice. 


MOULDING    TONES    INTO    WORDS 


197 


Exercise  in  the  development  of  speech  should  con- 
cern agility  of  the  articulating  organs.  Simple  exer- 
cises can  be  given  for  the  jaw,  tip  of  the  tongue,  and 
back  of  the  tongue,  which  are  the  parts  especially 
needing  development,  and  these  can  be  found  in  the 
author's  book  on  Voice. 

The  next  step  should  be  the  giving  of  all  the  vowels 
as  starts  with  the  fundamental  conditions  of  vocal 
training. 

The  widest  vowel  in  the  English  language  is  "  ah," 
the  tongue  being  passive  in  the  throat.  The  narrowest 
vowel  is  "  e."  These  should  be  practised  in  direct 
opposition.  If  the  jaw  and  tongue  are  free  the  tongue 
will  do  the  work  of  changing  from  "  ah  "  to  "  e,"  and 
there  will  be  little  or  no  action  of  the  jaw.  The  jaw 
must  not  be  constricted,  but  kept  relaxed,  allowing  the 
tongue  to  do  its  work.  Nine-tenths  of  all  the  work  in 
vowel  shaping  is  concerned  with  the  tongue,  and  en- 
largement of  the  vowel  chambers  is  effected  by  relaxing 
the  jaw  and  developing  agility  of  the  tongue  to  dis- 
charge its  own  elemental  actions  independent  of  the 
jaw. 

The  next  step,  after  the  vowels  have  been  made  free 
and  correct,  should  be  the  development  of  delicacy, 
precision,  and  definiteness  in  consonant  action.  This 
takes  very  little  physical  labor.  It  is  precision,  not 
amount  of  work,  that  makes  good  consonants.  Dis- 
tinctness in  articulation  means  that  each  element  be 
distinguished  from  all  others.  It  can  never  result  from 
labor,  but  comes  by  the  easy,  natural,  precise  use  of 
the  right  agent  in  the  right  way.  All  speech  consists 
in  simple  yet  subtle  actions  of  the  organs. 

The  consonant  is  caused  by  a  definite  action  of  some 
part  against  another  part;  usually  one  part  only  being 
active.  In  the  action  of  the  tip  of  the  tongue  in  "  t," 
for  example,  there  is   an   approach   of   the  tongue,  a 


198  FOUNDATIONS   OF   EXPRESSION 

definite  contact  with  the  roof  of  the  mouth,  and  a 
separation  of  these  organs.  The  approach  must  be 
with  precision;  the  juxtaposition  for  the  instant  in  the 
utterance  of  the  consonant  must  be  definite,  but  with- 
out labor,  and  the  return  of  the  tongue  entirely  by 
relaxation.  The  separation  of  the  organs  is  very 
important,  and  is  the  more  difiicult  because  it  implies 
the  instantaneous  withdrawal  of  the  will. 

Render  a  hearty  passage,  making  the  vowels 
large  and  open,  and  the  consonants  as  quick  and 
definite  as  possible.  Observe  that  in  beautiful  ^-„ 
speech  consonants  and  vowels  balance  and  help 
each  other.  Whenever  one  element  hinders  another 
speech  is  incorrect.  It  is  usually  easier  to  give  a  vowel 
with  a  consonant  than  without.  Definite  and  delicate 
action  of  the  agent  immediately  before  or  after  a 
vowel  helps  to  shape  it,  and  has  no  constrictive  action 
whatever. 

COURAGE. 

In  the  afternoon  of  the  day  after  the  battle  of  Fredericksburg, 
General  Kershaw  of  the  Confederate  army  was  sitting  in  his 
quarters  when  suddenly  a  young  South  Carolinian  named  Kirk- 
land  entered,  and,  after  the  usual  salutations,  said:  "  General, 
I  can't  stand  this."  The  general,  thinking  the  statement  a 
little  abrupt,  asked  what  it  was  he  could  not  stand,  and  Kirkland 
replied:  "Those  poor  fellows  out  yonder  have  been  crying  for 
water  all  day,  and  I  have  come  to  you  to  ask  if  I  may  go  and 
give  them  some."  The  "  poor  fellows  "  were  Union  soldiers  who 
lay  wounded  between  the  Union  and  Confederate  lines.  To 
get  to  them  Kirkland  must  go  beyond  the  protection  of  the 
breastworks  and  expose  himself  to  a  fire  from  the  Union  sharp- 
shooters, who,  so  far  during  that  day,  had  made  the  raising  above 
the  Confederate  works  of  so  much  as  a  head  an  act  of  extreme 
danger.  General  Kershaw  at  first  refused  to  allow  Kirkland  to 
go  on  his  errand,  but  at  last,  as  the  lad  persisted  in  his  request, 
declined  to  forbid  him,  leaving  the  responsibility  for  action  with 
the  boy  himself.  Kirkland,  in  perfect  delight,  rushed  from  the 
general's  quarters  to  the  front,  where  he  gathered  all  the  canteens 
he  could  carry,  filled  them  with  water,  and  going  over  the  breast- 
works, started  to  give  relief  to  his  wounded  enemies.  No  sooner 
was  he  in  the  open  field  than  the  Union  sharp-shooters,  supposing 


MOXJLDIWG   TONES   IlfTO   WORDS  1 99 

he  was  going  to  plunder  their  comrades,  began  to  fire  at  him. 
For  some  minutes  he  went  about  doing  good  under  circumstances 
of  most  imminent  personal  danger.  Soon,  however,  those  to 
whom  he  was  taking  the  water  recognized  the  character  of  his 
undertaking.  All  over  the  field  men  sat  up  and  called  to  him, 
and  those  too  hurt  to  raise  themselves,  held  up  their  hands  and 
beckoned  to  him.  Soon  our  sharp-shooters,  who  luckily  had  not 
hit  him,  saw  that  he  was  indeed  an  Angel  of  Mercy,  and  stopped 
their  fire,  and  two  armies  looked  with  admiration  at  the  young 
man's  pluck  and  loving  kindness.  With  a  beautiful  tenderness, 
Kirkland  went  about  his  work,  giving  water  to  all,  and  here 
and  there  placing  a  knapsack  pillow  under  some  poor  wounded 
fellow's  head,  or  putting  in  a  more  comiortable  position  some 
shattered  leg  or  arm.  Then  he  went  back  to  his  own  lines 
the  fighting  went  on.  Tell  me  of  a  more  exalted  example  of 
personal  courage  and  self-denial  than  that  of  that  Confederate 
soldier,  or  one  which  more  clearly  deserves  the  name  of  Christian 
fortitude.  In  that  terrible  War  of  the  Rebellion  Kirkland  gave 
up  his  life  in  the  battle  of  Chickamauga,  but  I  cannot  help 
thanking  God  that,  in  oiu*  reunited  country,  we  are  joint  heirs 
with  the  men  from  the  South  in  the  glory  and  inspiration  that 
come  from  such  heroic  deeds  as  his. 


SHERMAN    HOAR. 


SUMMER  TIME. 

O  Spirit  of  the  Summer  time  1 

Bring  back  the  roses  to  the  dells ; 

The  swallow  from  her  distant  clime, 
The  honey-bee  from  drowsy  cells. 

Bring  back  the  friendship  of  the  sun; 

The  gilded  evenings,  calm  and  late, 
When  merry  children  homeward  run. 

And  peeping  stars  bid  lovers  wait. 

Bring  back  the  singing;  and  the  scent 
Of  meadow-lands  at  dewy  prime ;  — 

Oh,  bring  again  my  heart's  content. 
Thou  Spirit  of  the  Siunmer  time ! 


ALLINGHAM. 


Know  that  pride, 
Howe'er  disguised  in  its  own  majesty, 
Is  littleness ;  that  he  who  feels  contempt 
For  any  living  thing  hath  faculties 
Which  he  has  never  used. 

WORDSWORTH. 


200  FOUNDATIONS    OF   EXPRESSION 

O,  Music !  Thou  who  bringest  the  receding  waves  of  eternity 
nearer  to  the  weary  heart  of  man  as  he  stands  upon  the  shore 
and  longs  to  cross  over  1  Art  thou  the  evening  breeze  of  this  life, 
or  the  morning  air  of  the  other  one? 

JEAN  PAUL  FRIEDRICH  RICHTER. 

OPPORTUNITY. 

Master  of  htunan  destinies  am  I ; 

Fame,  love  and  fortune  on  my  foot-steps  wait, 

Cities  and  fields  I  walk:  I  penetrate 

Deserts  and  seas  remote,  and  passing  by 

Hovels  and  mart  and  palace,  soon  or  late 

I  knock  unbidden,  once,  at  every  gate ! 

If  feasting,  rise ;  if  sleeping,  wake  before 

I  turn  away.     It  is  the  hour  of  fate. 

And  they  who  follow  me  reach  every  state 

Mortals  desire,  and  conquer  every  foe 

Save  death.     But  those  who  doubt  or  hesitate, 

Condemned  to  failure,  penury  and  woe. 

Seek  me  in  vain  and  ceaselessly  implore ; 

I  answer  not,  and  I  return  —  no  more. 

JOHN  J.  INGALLS. 

Speak  to  a  very  large  audience,  real  or  imaginary,  in 
a   soft,    rich,    natural   voice,    accentuating   the    vocal 
quantity,  the  soft,  rich   relaxation   of   articula-     _. 
tion,  and  the  changes  of  pitch  between  words, 
and  observe  the  ease  with  which  compliance  with  right 
conditions  enables  one  to  be  heard  at  a  distance. 

Enunciation  is  the  right  production  of  all  the  ele- 
ments of  speech. 

Articulation  refers  to  the  enunciation  of  conso- 
nants; pronunciation  adds  the  element  of  accentuation 
to  enunciation. 

Distinctness  in  articulation  is  the  giving  of  each 
element  its  own  specific  character. 

Normal  speech  implies  the  free,  easy,  open,  har- 
monious production  of  all  the  elements,  with  the  right 
rhythmic  union  of  accentuation  and  quantity. 


XVI. 
FORCE   AND   ITS  EXPRESSION. 

It  is  very  important  in  the  study  of  expression  to 
distinguish  between  the  characteristics  of  strength  and 
those  of  weakness.  The  naturalness  of  weakness  and 
the  naturalness  of  strength  are  often  in  direct  opposi- 
tion. The  advice  to  have  nothing  to  do  with  expressive 
training  and  to  be  simply  natural  always  ends  in  weak- 
ness, superficiality  and  worse  faults,  either  repression 
or  a  commonplace  expression,  on  the  one  hand,  or  weak 
expression  of  negative  conditions  on  the  other. 

Force  must  be  controlled  and  intensified,  made  easy 
and  reposeful,  and  positions  must  pass  into  conditions 
before  there  is  power.  Accordingly,  it  is  well  to  take 
note  of  a  few  faults  in  the  expression  of  force,  —  those 
conditions  which  are  destructive  of  intensity  and  power. 
A  man  may  be  greatly  excited,  with  all  the  forces  of 
his  nature  aroused,  and  yet  those  forces  may  run  to 
waste.  With  the  increase  of  force  and  earnestness,  one 
of  the  first  tendencies  is  the  elimination  of  changes  of 
pitch,  the  voice  failing  to  co-ordinate  and  dominate  all 
the  individual  impressions.  The  activity  passes  to  the 
throat,  causing  constriction,  and  the  voice  becomes 
monotonous.  Usually,  as  has  been  shown,  it  passes 
to  a  high  pitch.  The  remedy  for  this  has  been  dis- 
cussed imder  Agility.  It  should  be  an  increase  of  the 
range  of  voice,  the  direct  expression  of  earnestness 
by  changes  of  pitch  and  lengthening  of  the  inflexions. 

We  have  here  a  fine  illustration  of  the  necessity  of 
recognizing  the  principles  of  vocal  training  which  have 
been  explained.  When  excitement  and  passion  £ire  so 
controlled  as  to  cause  activity  in  the  modulation  of  the 
body,  the  throat  is  relieved  from  tension  and  the  vocal 

20f 


202  FOUNDATIONS  OF  EXPRESSION 

bands  axe  made  more  free  to  change  pitch  and  make 
inflexions.  The  expression  of  intensity  and  strength 
absolutely  depends  upon  such  fundamental  training  of 
the  voice. 

Another  waste  of  energy  is  hurry.  This  is  accelera- 
tion of  speed  without  increase  of  touch  and  rhythmic 
alternation  between  impression  and  expression.  Its 
remedy  is  a  long  pause  and  a  decided  touch.  It  will 
be  further  discussed  under  the  head  of  Movement. 

We  have  also  another  very  marked  tendency  of 
energy  to  run  to  waste.  Loudness,  as  a  rule,  is  the 
mere  escape  and  going  to  waste  of  earnestness.  It  is 
a  muscular  earnestness,  a  mere  demonstrative  attitude 
of  the  mind. 

Force  may  manifest  itself  through  tone  in  two  ways. 
First,  we  may  expel  the  breath  and  make  the  tone  loud. 
Secondly,  we  may  direct  the  will  to  the  holding  of 
attention  for  greater  realization,  and  to  the  taking  and 
retaining  of  a  great  amount  of  breath,  and  thus  we  may 
make  the  tone  intense.  In  other  words,  we  may 
increase  the  size  or  the  force  of  the  stick  with  which  to 
strike  a  dnrni,  in  the  first  instance,  or,  in  the  second, 
we  may  enlarge  or  make  more  tense  the  drum  itself. 

What  is  the  difference  between  these  two  applica- 
tions of  force?  A  forced  or  loud  tone  is  empty.  A  tone 
in  which  conditions  are  accentuated  is  intense.  The 
first  is  expressive  of  weakness,  extravagance,  or  de- 
monstrativeness ;  the  second,  of  depth  and  self-control. 

As  a  strong  man  is  one  whose  thought  and  emotion 
are  united  by  will,  so  in  expression  the  will  has  a  func- 
tion. It  is  concerned  with  the  definite  concentration 
and  prolonging  of  the  attention,  and  with  the  active 
assertion  of  touch  £ind  inflexion.  It  also  reserves  the 
emotion  and  prevents  its  premature  outflow.  Thought 
is  stayed  and  the  emotion  centred  in  the  breath,  so 
that  the  noblest  expression  of  feeling  is  by  the  increase 
of  breathing  and  the  expansion  of  the  body. 


FORCE   Ain>   ITS   EXPRESSION  303 

Emotion  is  intensified,  like  steam,  when  controlled. 
The  will  keeps  the  idea  before  the  mind,  and  retains 
breath  until  the  emotion  becomes  strong.  It  can  then 
be  expressed  by  greater  decision  of  touch,  larger  inflex- 
ions, wider  changes  of  pitch,  and  by  the  union  and  stimu- 
lation of  all  the  sympathetic  vibrations  of  the  voice. 

While  the  sympathetic  vibrations  express  imagina- 
tion and  feeling  spontaneously,  and  seemingly  without 
direct  subjection  to  the  will,  yet  indirectly  the  will  con- 
trols tone-color  and  retains  emotion  until  it  becomes 
intensified  and  diffused  over  the  body.  Emotion,  there- 
fore, that  is  suffered  to  express  itself  by  mere  loudness, 
high  pitch,  and  hurry,  that  is,  without  control  or  re- 
serve, has  little  effect  upon  the  overtones.  It  is  the 
intensifying  and  reserving  of  emotion  that  causes  its 
diffusion  over  the  body,  and  in  changing  the  texture  of 
the  muscles,  produces  changes  in  the  sympathetic 
vibrations. 

1.  Volume.  There  is  a  certain  modulation  of  volume 
which  is  necessary.  While  loudness  is  a  fault,  increase 
in  volume  has  a  meaning  in  expression.  Increase  of 
excitement  naturally  tends  to  an  increase  of  volume. 
In  direct  opposition,  increase  of  control  lessens  volume 
and  increases  intensity.  Whenever  an  emotion  in- 
creases in  force,  if  there  is  no  special  call  for  its  control, 
there  is  an  increase  in  volume.  But  excitement,  if 
allowed  to  increase  volimie  without  increasing  inten- 
sity and  control,  shows  a  lack  of  strength,  repose,  and 
dignity. 

Render,  for  example,  the  following  words  of  Richard 
III.  in  the  midst  of  the  battle.  His  rage  and  excitement 
call  for  explosion  and  demonstration,  but  with  this,  -  gg 
he  has  resolution  and  determination  which  would 
partly  control  the  tendency  to  increase  of  volume; 
otherwise  the  passage  would  not  suggest  desperation 
and  resolution,  but  rant  and  weakness.     Richard  III., 


204  FOUNDATIONS   OF   EXPRESSION 

however  wicked,  must  be  realized  as  a  man  of  great 
force  and  power. 

A  horse !  a  horse  i  my  kingdom  for  a  horse ! 

—  Slave !  I  have  set  my  life  upon  a  cast, 

And  I  will  stand  the  hazard  of  the  die. 

I  think  there  be  six  Richmonds  in  the  field ! 

Five  have  I  slain  to-day  instead  of  him. 

A  horse  I  a  horse !  my  kingdom  for  a  horse !  *' 

"  King  Richard  III."  SHAKESPEARE. 

In  Queen  Catherine's  words  to  Wolsey  she  bursts 
forth  under  strong  provocation  and  excitement,  but 
she  is  a  queen  and  has  command  of  herself.  ..«« 
The  self-control  of  the  queenly  woman  causes 
the  touch  to  be  decided,  and  the  inflexions  to  be  abrupt ; 
and  though  the  volume  increases,  it  will  not  increase 
in  the  same  proportion ;  as  do  the  range  and  other  ele- 
ments of  the  voice. 

Catherine.  I  do  believe, 

Induced  by  potent  circumstances,  that 

You  are  mine  enemy,  and  make  my  challenge: 

You  shall  not  be  my  judge,  for  it  ic  you 

Have  blown  this  coal  betwixt  my  lord  and  me ; 

Which  God's  dew  quench !     Therefore,  I  say  again, 

I  utterly  abhor,  yea,  from  my  soul 

Refuse  you  for  my  judge;  whom,  yet  once  more, 

I  hold  my  most  malicious  foe,  and  think  not 

At  all  a  friend  to  truth. 

"Henry  VIII."  SHAKESPEARE. 

In  all  such  cases  as  the  preceding,  some  increase  in 
volume  is  necessary  to  suggest  increased  excitement, 
but  where  there  is  increase  of  control  and  intensity 
the  voliune  will  be  lessened  with  increased  passion. 
Volume  alone  will  suggest  weakness.  Control  alone 
will  indicate  suppression.  Intensity  is  a  certain  bal- 
ance between  the  tendencies  to  demonstration  and  to 
control.  Either  the  passion  or  the  command  may 
increase.  In  the  former  case  the  volume  will  increase; 
in  the  latter,  the  intensity,  while  the  volume  will  lessen. 
Very  demonstrative   passages  necessarily  express  this 


FORCE   Am>   ITS   EXPRESSION  205 

character  by  increase  in  volume;  passages  which  are 
subjective  accentuate  the  inner  reserve  of  passion  and 
of  breath,  and  always  increase  intensity  rather  than 
volume. 

Observe   carefully   the   tendency   of   declamation   or 
rant  to  eliminate  changes  of  pitch  and  inflexion  and  to 
increase   loudness.      Then    in    direct   opposition,    ^g_ 
accentuating  these    elements,   give    the   follow- 
ing  passage   with   greater  earnestness,   but   with  less 
loudness. 

Thanks  be  to  God  for  mountains !  .  .  .  From  age  to  age  they 
have  been  the  last  friends  of  man.  In  a  thousand  extremities 
they  have  saved  him.  What  great  hearts  have  throbbed  in  their 
defiles  from  the  days  of  Leonidas  to  those  of  Andreas  Hoferl 
What  lofty  souls,  what  tender  hearts,  what  poor  and  persecuted 
creatures  have  they  sheltered  in  their  stony  bosoms  from  the 
weapons  and  tortures  of  their  fellow  menl 

HOWITT. 

Give  a  passage  with  great  earnestness,  increasing  the 
amount   of  breath,   the   decision  of  touch,   and   ..-^ 
accentuating   all  the  modulations   of    the  voice 
expressing  intensity  and  eliminating  loudness. 

Thy  voice  is  heard  thro'  rolling  drums 

That  beat  to  battle  where  he  stands; 
Thy  face  across  his  fancy  comes, 

And  gives  the  battle  to  his  hands: 
A  moment,  while  the  trumpets  blow, 

He  sees  his  brood  about  thy  knee; 
The  next,  like  fire  he  meets  the  foe, 

And  strikes  him  dead  for  thine  and  thee. 

Song  from  the  "  Princess."  TENNYSON. 

While  you  are  gazing  on  that  sun  which  is  plunging  into  the 
vault  of  the  West,  another  observer  admires  him  emerging  from 
the  gilded  gates  of  the  East.  By  what  inconceivable  power  does 
that  aged  star,  which  is  sinking  fatigued  and  burning  in  the 
shades  of  the  evening,  reappear  at  the  same  instant  fresh  and 
humid  with  the  rosy  dew  of  the  morning?  At  every  hour  of 
the  day,  the  glorious  orb  is  at  once  rising,  resplendent  as  noon- 
day, and  setting  in  the  West;  or,  rather,  our  senses  deceive  us, 
and  there  is,  properly  speaking,  no  East  or  West,  no  North  Qt 
South,  in  the  world. 


90G  FOmmATIONS   OF   EXPRESSIOK 

2.  Intensity.  Volume  is  the  objective  and  demon- 
strative show  of  force;  intensity  expresses  its  subjec- 
tive reserve  or  control.  Loudness  implies  outward 
forcing  of  the  breath ;  intensity,  its  retention.  Intensity 
results  from  activity  at  the  centre,  while  declamation, 
bombast,  and  loudness  are  caused  by  activity  at  the 
surface.  In  proportion  to  the  accentuation  of  inten- 
sity, is  the  suggestion  of  repose,  strength,  and  power. 

A  contrast  between  volume  and  intensity  will  best 
illustrate  the  nature  of  both.  The  poem  "  The  Petri- 
fied Fern "  begins  with  sympathetic  admira-  ^  ^^ 
tion  of  the  little  fern,  and  its  lack  of  kinship 
with  the  "  mammoth  creatures."  Remoteness  of  time 
and  the  "  stately  forests  "  may  be  hinted  by  volimie ; 
but  tenderness  for  the  little  fern,  which  remains  the 
same  to-day  as  in  the  early  age  referred  to  in  the  poem, 
and  the  sense  of  loneliness,  no  foot  of  man  having  ever 
passed  that  way,  are  expressed  by  intensity.  In  the 
second  stanza  "  fishes,"  "  forests,"  "  mountains,"  and 
"  creatures  "  are  given  with  increased  volume  to  sug- 
gest mere  magnitude,  but  the  conception  of  the  little 
fern  is  intensely  opposed  to  this  gigantic  show  of  force. 
The  key  is  not  only  lower,  the  touch  more  decided,  but 
there  is  more  breath,  and  a  great  change  in  the  color- 
ing or  texture  of  the  voice  to  indicate  the  personal 
sympathy  for  the  delicate  fern  in  the  midst  of  such 
great  things.  In  the  third  stanza,  the  volcanic  up- 
heavals and  earthquakes,  or  "  frolic  mood  "  are  ex- 
pressed with  a  sense  of  physical  power.  This  is  shown 
by  volume,  but  at  the  words  "  Crushed  the  little  iem  " 
there  is  a  change  to  tenderness.  Intensity  is  given  in 
direct  opposition  to  volume.  At  the  beginning  of 
stanza  four,  note  the  long,  abrupt  inflexions.  A  new 
point  of  view  is  taken.  The  modem  scientific  dis- 
coveries are  now  poetically  touched  upon  with  a  dif- 
ferent but  intense  feeling.    Note  the  accentuation  of 


FORCE  AND  ITS  EXPRESSION  207 

the  points  discovered,  until  at  the  words  *'  the  fern's 
life  "  there  is  a  return  with  deeper  intensity  to  a  ten- 
derness similar  to  that  with  which  the  other  stanzas 
have  closed.  The  last  two  lines  contain  a  moral  which 
must  be  given  intensely,  after  a  pause,  and  in  opposi- 
tion, or  rather  in  apposition,  to  the  rest  of  the  poem. 

THE   PETRIFIED   FERN. 

In  a  valley,  centuries  ago, 

Grew  a  little  fern  leaf,  green  and  slender, 

Veining  delicate  and  fibres  tender; 
Waving  when  the  wind  crept  down  so  low. 

Rushes  tall,  and  moss,  and  grass  grew  round  it, 

Playful  sunbeams  darted  in  and  found  it. 

Drops  of  dew  stole  in  by  night,  and  crowned  it, 

But  no  foot  of  man  e'er  trod  that  way; 

Earth  was  young,  and  keeping  holiday. 

Monster  fishes  swam  the  silent  main. 

Stately  forests  waved  their  giant  branches, 

Mountains  hurled  their  snowy  avalanches, 
Mammoth  creatures  stalked  across  the  plain; 

Nature  revelled  in  grand  mysteries, 

But  the  little  fern  was  not  of  these. 

Did  not  number  with  the  hills  and  trees; 

Only  grew  and  waved  its  wild  sweet  way, 

None  ever  came  to  note  it  day  by  day. 

Earth  one  time  put  on  a  frolic  mood. 

Heaved  the  rocks  and  changed  the  mighty  motion 

Of  the  deep,  strong  currents  of  the  ocean. 
Moved  the  plain  and  shook  the  haughty  wood. 

Crushed  the  Uttle  fern  in  soft  moist  clay,  — 

Covered  it,  and  hid  it  safe  away. 

Oh,  the  long,  long  centuries  since  that  dayl 

Oh,  the  agony!     Oh,  life's  bitter  cost. 

Since  that  useless  little  fern  was  lost! 

Useless?     Lost?     There  came  a  thoughtful  man, 

Searching  Nature's  secrets,  far  and  deep; 

From  a  fissure  in  a  rocky  steep 
He  withdrew  a  stone,  o'er  which  there  ran 

Fairy  pencillings,  a  quaint  design, 

Veinings,  leafage,  fibres  clear  and  fine, 

And  the  fern's  life  lay  in  every  line! 

So,  I  think,  God  hides  some  souls  away. 

Sweetly  to  surprise  us,  the  last  day. 

MARY  BOLLES  BRANCH. 


2o8  FOUNDATIONS   OF   EXPRESSION 

A  similar  contrast  is  found,  also,  in  the  following 
poem  by  Emerson.  The  "  simmier  voice  "  of  the  Concord 
River  is  expressed  in  the  first  two  lines  with  that  .  -^ 
general  admiration  of  nature  felt  by  all.  In  the 
second  line  there  is  a  change  to  something  more  spir- 
itual and  transcendent.  In  the  second  stanza  the  poet 
returns  to  the  Concord.  The  first  line  will,  of  course, 
be  given  objectively,  as  it  is  a  literal  stream,  but  with 
the  second  line  there  is  a  sudden  transition  to  deep 
suggestiveness  with  a  great  amount  of  breath,  change 
of  key,  tone-color  and  texture,  to  express  this  deeper 
feeling.  In  the  fourth  stanza  there  is  an  increase  of 
the  joyous  admiration  for  the  Concord  River,  its  beauty, 
its  effect  upon  the  pebbles,  and  its  ministration  to 
grief.  In  the  last  stanza  there  is  a  return  to  the  deeper 
strain,  the  stream  of  spiritual  life  and  energy.  There 
is  still  more  intensity  and  a  greater  wrestling  as  if  with 
an  idea  of  inconceivable  greatness,  and  a  feeling  too 
deep  for  words.  The  contrast  increases  from  the  first, 
the  last  two  stanzas  standing  over  against  each  other 
in  strong  contrast. 

THE    TWO    RIVERS. 

Thy  summer  voice,  Musketaquit, 

Repeats  the  music  of  the  rain; 
But  sweeter  rivers  pulsing  flit 

Through  thee,  as  thou  through  Concord  plain 

Thou  in  thy  narrow  banks  art  pent ; 

The  stream  I  love  unbounded  goes 
Through  flood  and  sea  and  firmament ; 

Through  light,  through  life,  it  forward  flows. 

I  see  the  inimdation  sweet, 

I  hear  the  spending  of  the  stream 
Through  years,  through  men,  through  nature  fleet, 

Through  love  and  thought,  through  power  and  dream. 

Musketaquit,  a  goblin  strong. 

Of  shard  and  flint  makes  jewels  gay; 
lliey  lose  their  grief  who  hear  his  song, 

Alia  where  he  winds  is  the  day  of  day. 


FORCE   AND   ITS   EXPRESSION  209 

So  forth  and  brighter  faxes  my  stream,  — 
Who  drink  it  shall  not  thirst  again; 

No  darkness  stains  its  equal  gleam 
And  ages  drop  in  it  like  rain. 

EMERSON. 

Every  feeling  should  be  as  intense  as  its  nature  will 
admit,  but  one  emotion  demands  especial  attention,  for 
it  is  usually  given  without  any  recognition  of  intensity. 
This  emotion  is  pathos. 

Grief  and  despair  primarily  tend  to  the  giving  up  of 
breath,  the  weakening  of  resolution  and  control,  and 
the  use  of  minor  inflexions,  and  even  outcries ;  but  such 
expression  is  weak.  The  strong  man  endures  and 
endeavors  to  control  grief;  volume  decreases  but  breath 
increases ;  his  pauses  are  long,  he  struggles  for  control, 
and  gives  each  successive  idea  with  a  very  decided 
touch.  A  weak  man  gives  way  to  grief,  the  breath 
decreases,  and  the  volume  may  increase. 

For  this  reason  pathos  is  the  most  difficult  of  any 
emotion  to  express.  It  tends  to  despair  and  weak- 
ness; hence  the  greater  must  be  the  effort  to  control 
it.  In  proportion  as  heroic  endurance  is  expressed,  is 
pathos  dignified  and  ennobled.  The  weak  man  awakens 
our  pity,  but  the  strong  man  by  his  struggle  for  self- 
control  awakens  our  highest  sympathy. 

The  mastery  of  pathos  is  one  of  the  greatest  helps 
in  securing  control  of  breathing  and  the  voice.  In 
rendering  pathos  the  student  must  pack  his  lungs  with 
air,  and  speak  with  the  fullest  possible  chest;  he  must 
treasure  his  tears  and  retain  in  his  breath  the  impulse 
to  sigh  and  to  sob.  His  tone  will  then  become  intense 
and  change  its  color  and  very  texture. 

All  emotions  should  be  given  their  highest  expres- 
sion as  far  as  possible.  The  more  noble  the  emotion, 
the  more  intense  must  be  its  expression.  It  is  by  inten- 
sity that  poetic  expression  suggests  the  deep  feelings  of 
the  heart. 


no  FOUNDATIONS    OF    EXPRESSION 

Render  "  Little  Boy  Blue,"  and  intensify  the  tender- 
ness of  the  speaker.    Eugene  Field  is  said  to  have 
written  the  poem  after  the  death  of  one  of  his   ^  _^ 
own  children,  but  some  may  prefer  to  interpret 
it  as  an  expression  of  a  mother's  love. 

LITTLE   BOY   BLUE. 

The  little  toy  dog  is  covered  with  dust, 
But  sturdy  and  stanch  he  stands ; 
And  the  little  toy  so'dier  is  red  with  rust, 
And  his  musket  moulds  in  his  hands. 

Time  was  when  the  little  toy  dog  was  new, 
And  the  soldier  was  passing  fair ;  — 
That  was  the  time  when  our  little  Boy  Blue 
Kissed  them  and  put  them  there. 

"  Now,  don't  you  go  till  I  come,"  he  said; 
"  And  don't  you  make  any  noise !  " 
So  toddling  off  to  his  trundle-bed 
He  dreamt  of  the  pretty  toys. 

And  as  he  was  dreaming,  an  angel  song 
Awakened  our  Little  Boy  Blue,  — 
Oh,  the  years  are  many,  the  years  are  long. 
But  the  little  toy  friends  are  true ! 

Aye  faithful  to  Little  Boy  Blue  they  stand, 
Each  in  the  same  old  place,  — 
Awaiting  the  touch  of  a  little  hand, 
The  smile  of  a  little  face. 

And  they  wonder,  as  waiting  these  long  years  through 

In  the  dust  of  that  little  chair, 

What  has  become  of  our  Little  Boy  Blue 

Since  he  kissed  them  and  put  them  there. 

EUGENE   FIELD, 

The  poem  opens  with  the  discovery  of  the  "  toy 
dog  "  and  "  soldier."  These  were  last  arranged  by 
**  Little  Boy  Blue."  The  second  stanza  brings  a  change 
and  a  little  relief,  but  returns  with  deeper  feeling  in 
the  last  two  lines.  Another  contrast  and  relief  from  the 
intense  pathos  comes  in  the  third  stanza  when  the 
little  boy's  voice  is  suggested  in  what  he  said  to  his 
playthings.  In  the  fourth  stanza  there  comes  a  deeper 
throb  of  pain.     Here  the  struggle  to  control  the  breath- 


PORCB   AITO   ITS   EXPRESSION  211 

ing  and  to  treasure  the  tears  greatly  increases.  In  the 
third  line  of  this  stanza  the  reader  will  feel  a  tendency 
to  give  way  to  the  feeling,  but  the  last  line  returns  to 
the  "  toy  friends  "  with  greater  tenderness  and  grief. 
These  increase  through  the  fifth  stanza.  There  is  a 
slight  momentary  relief  to  the  reader  as  he  imagines 
the  wonder  of  the  toys  at  their  little  owner's  long 
absence.  Then  in  the  last  two  lines  the  poem  closes 
with  the  deepest  and  most  intense  throb  of  pain. 

It  may  be  helpful  for  the  student  to  read  this  poem 
as  an  expression  of  some  weak  person  giving  up  en- 
tirely to  every  emotion,  and  then  read  it  as  that  of  a 
strong  character  whose  whole  being  is  shaken  with  sor- 
row, observing  the  effect  of  each  idea  upon  the  breath- 
ing, inflexion,  touch,  range  of  voice,  tone-color  and 
texture,  and  also  upon  the  rhythmic  movement. 

In  the  following  lines,  which  are  supposed  to  have 
been  found  under  the  pillow  of  a  soldier  who  died  in 
the  hospital  at  Port  Royal,  we  have  another  ^-^ 
intensely  pathetic  passage.  The  despairing  mood 
must  not  be  too  much  accentuated,  but  rather  the  vic- 
tory and  sense  of  faith  and  patience  in  the  last  lines. 
However  deep  the  pathos,  the  heart  always  demands 
some  rest,  some  suggestion  of  the  heroism  that  endures, 
and  in  spite  of  the  darkness,  some  glimmerings  of  hope. 

REST. 

I  lay  me  down  to  sleep,  with  little  care 

Whether  my  waking  find  me  here  or  there. 

A  bowing,  burdened  head,  that  only  asks  to  rest 

Unquestioning  upon  a  loving  breast. 

My  good  right  hand  forgets  its  cunning  now; 

To  march  the  weary  march,  I  know  not  how. 

I  am  not  eager,  bold,  nor  strong  —  all  that  is  past; 

I  am  ready  not  to  do  at  last  —  at  last. 

My  half-day's  work  is  done,  and  that  is  all  my  part. 

I  give  a  patient  God  my  patient  heart. 

X  grasp  His  banner  still,  though  all  the  blue  be  dim; 

These  stripes  »"  'veil  as  stars  lead  after  Him. 

MARY  WOOLSEY    ROWLAND 


aia  FOUNDATIONS    OF    EXPRESSION 

O  God  I  have  mercy  on  thy  child, 

Whose  faith  in  thee  grows  weak  and  small, 
And  take  me  ere  I  lose  it  all ! 

••  Mabel  Martin."  WHITTIER 

AT  THE   GRAVE'S  EDGE. 

What  lands  shall  greet  your  gaze? 

What  winds  shall  lift  your  hair? 
What  mightier  stars  for  you  shall  blaze 

In  what  diviner  air? 

And  the  long  journey  through, 

Shall  Love  not  have  his  will? 
And  the  old  dream  come  true, 

And  the  old  grief  be  still? 

We  reach  out  empty  hands  — 

We  never  can  forget  I 
O  heart,  at  last  that  understands, 

Do  you  remember  yet? 

From  The  Independent.  HENRY   FLETCHER  HARRIS. 

With  the  decrease  of  loudness  and  the  increase  of 
intensity  another  essential  expression  of  earnestness  and 
power  will  be  noted,  that  is,  an  increase  in  range  of 
voice.  Weakness  always  tends  to  sameness  of  pitch. 
Paradoxical  as  it  may  seem,  chaos  always  tends  to 
monotony  in  pitch.  The  same  is  true  of  any  mechani- 
cal or  artificial  mode  of  expression. 

Wastes  of  energy  and  weak  modes  of  expression  are 
nearly  always  united.  If  excitement  or  earnestness 
expresses  itself  in  loudness,  the  range  of  voice  will  be 
simultaneously  limited,  and  the  voice  will  generally 
nm  up  on  a  monotonous  high  pitch. 

When  emotion,  excitement,  or  force  are  expressed 
intensely,  but  with  control,  there  will  be  increase  in 
touch,  length  of  pause,  and  accentuation  of  the  rhythm; 
inflexions  will  be  longer  and  the  range  of  voice  will 
greatly  increase. 

This  may  be  illustrated  by  expressing  the  passion  of 
some  dignified  character.  Self  command  and  dignity 
of  any  kind  are  expressed  by  intensity  and  increase  of 
range. 


FORCE    AND    ITS    EXPRESSION 


213 


Observe  that  very  extreme  transitions  are  expressed 
by  changes  not  merely  in  tone-color  and  move-   .__ 
ment,  but  are  especially  marked  by  an  extreme 
variation   in    pitch,  as  well    as    by  a   lengthening    of 
inflexions. 

*•  Make  way  for  liberty  I  "  he  cried: 
Made  way  for  liberty,  and  died. 
"Arnold  Winkelried.  '  MONTGOMERY. 

ENOCH    ARDEN    AT    THE    WINDOW. 

Then  he,  the'  Miriam  Lane  had  told  him  all,  because  things 
seen  are  mightier  than  things  heard,  stagger'd  and  shook, 
holding  the  branch,  and  fear'd  to  send  abroad  a  shrill  and  terrible 
cry,  which  in  one  moment,  like  the  blast  of  doom,  would  shatter 
all  the  happiness  of  the  hearth.  He  therefore  turning  softly 
like  a  thief,  lest  the  harsh  shingle  should  grate  underfoot,  and 
feeling  all  along  the  garden-wall,  lest  he  should  swoon  and 
tumble  and  be  found,  crept  to  the  gate,  and  open'd  it,  and  closed, 
as  lightly  as  a  sick  man's  chamber-door,  behind  him,  and  came 
out  upon  the  waste.  And  there  he  would  have  knelt,  but  that 
his  knees  were  feeble,  so  that  falling  prone  he  dug  his  fingers  into 
the  wet  earth,  and  pray'd.  "  Too  hard  to  bear!  why  did  they 
take  me  thence?  0  God  Almighty,  blessed  Saviour,  Thou  that 
didst  uphold  me  on  my  lonely  isle,  uphold  me.  Father,  in  my 
loneliness  a  little  longer!  aid  me,  give  me  strength  not  to  teU 
her,  never  to  let  her  know.  Help  me  not  to  break  in  upon  her 
peace.  My  children  too !  must  I  not  speak  to  these?  They 
know  me  not.  I  should  betray  myself.  Never:  no  father's  kiss 
for  me  —  the  girl  so  like  her  mother,  and  the  boy,  my  son." 

There  speech  and  thought  and  nature  fail'd  a  little,  and  he 
lay  tranced;  but  when  he  rose  and  paced  back  toward  his  soli- 
tary home  again,  all  down  the  long  and  narrow  street  he  went 
beating  it  in  upon  his  weary  brain,  as  tho'  it  were  the  burthen 
of  a  song,  "  Not  to  tell  her,  never  to  let  her  know." 

TENNYSON. 

Study  carefully  such  transitions  in  "  The  Petrified 
Fern  "  and  "  The  Two  Rivers."  Note  also  that  even 
in  the  pathos  of  "  Little  Boy  Blue  *'  great  changes  in 
pitch  are  associated  with  struggles  to  control  emotion, 
and  suggest  the  depth  and  intensity  of  feeling  more 
effectively,  possibly,  than  other  voice  modulation, 
although  the  change  of  pitch  is  used  directly  in  con- 
nection with  tone-color  and  change  of  texttire 


214 


FOUNDATIONS    OF    EXPRESSION 


Extreme  changes  in  key  and  range  of  voice  form  one 
of  the  most  effective  means  of  expressing  power.  Con- 
trol must  be  proportioned  always  to  the  strength  of 
passion.  "Will  and  passion  playing  in  opposition  cause 
intensity  and  a  harmonious  variation  and  union  of  all 
the  voice  modulations,  and  as  the  waves  of  the  ocean 
express  excitement,  the  voice  must  vary,  not  merely  in 
its  rhythm,  but  in  its  range  in  order  to  express  the 
co-ordination  of  thought,  emotion,  and  will,  the  simul- 
taneous activity  of  all  the  powers  of  being. 

One  of  the  most  intense  poems  in  the  language  is 
Bums's  address  of  Bruce  at  Bannockbum  which  Car- 
lyle  calls  the  greatest  war  ode  in  any  language.  ^-. 
Render,  accentuating  as  much  as  possible,  con- 
centration of  mind,  retention  of  breath,  pause,  deci- 
sion of  touch  or  rhythm,  length,  and  straightness  of  the 
inflexions,  change  of  pitch  and  range.  The  student 
should  practise  this  over  and  over  until  he  secures  con- 
trol of  his  emotion  and  voice. 

BRUCE'S    ADDRESS    AT   BANNOCKBURN. 

"  Scots  wha  hae  wi'  Wallace  bled, 
Scots  wham  Bruce  has  aften  led, 
Welcome  to  your  gory  bed, 
Or  to  victorie ! 

"  Now's  the  day,  and  now's  the  hour : 
See  the  front  o'  battle  lower ; 
See  approach  proud  Edward's  power  — 
Chains  and  slaverie ! 

"Wha  will  be  a  traitor  knave? 
Wha  can  fill  a  coward's  grave? 
Wha  sae  base  as  be  a  slave? 
Let  him  turn  and  flee  I 

*•  Wha  for  Scotland's  king  and  law 
Freedom's  sword  will  strongly  draw, 
Freeman  stand,  or  freeman  fa', 
Let  him  follow  me  I 


FORCE   AlfD   ITS   EXPRESSION  jlj 

**  By  oppression's  woes  and  pains, 
By  your  sons  in  servile  chains, 
We  will  drain  our  dearest  veins. 
But  they  shall  be  free  1 

"  Lay  the  proud  usurper  low  I 
Tyrants  fall  in  every  foe ! 
Liberty's  in  every  blow ! 

Let  us  do,  or  die !  " 

ROBERT   BURNS. 

Render  grief  or  passion  and  note  the  intensive  strug- 
gle to  control  breath  with  the  simultaneous  van-   .__ 
ation  of  the  textures  of  the  muscles  of  the  body. 

"  Bear  up,  old  friend."  Nobody  speaks ;  only  the  old  camp 
raven  croaks,  and  soldiers  whisper:  "Boys,  be  still;  there's 
some  bad  news  from  Grainger's  folks."  He  turns  his  back  — 
the  only  foe  that  ever  saw  it  —  on  this  grief,  and,  as  men  will, 
keeps  down  the  tears  kind  Nature  sends  to  Woe's  relief.  Then 
answers  he:  "  Ah,  Hal,  I'll  try;  but  in  my  throat  there's  some- 
thing chokes,  because,  you  see,  I've  thought  so  long  to  count 
her  in  among  our  folks." 

THE   LARGER    HOPE. 

Oh,  yet  we  trust  that  somehow  good 

Will  be  the  final  goal  of  ill, 

To  pangs  of  nature,  sins  of  will. 
Defects  of  doubt,  and  taints  of  blood: 

That  nothing  walks  with  aimless  feet; 

That  not  one  life  shall  be  destroyed, 

Or  cast  as  rubbish  to  the  void. 
When  God  hath  made  the  pile  complete* 

That  not  a  worm  is  cloven  in  vain ; 

That  not  a  moth  with  vain  desire 

Is  shrivelled  in  a  fruitless  fire. 
Or  but  subserves  another's  gain. 

Behold  we  know  not  anything: 

1  can  but  trtist  that  good  shall  fall 

At  last  —  far-off  —  at  last,  to  all, 
And  every  winter  change  to  spring. 

So  runs  my  dream:  but  what  am  I? 

An  infant  crying  in  the  night: 

An  infant  crying  for  the  light: 
And  with  no  language  but  a  cry.  .  .  « 


2l6  FOUNDATIONS    OF    EXPRESSION 

The  wish,  that  of  the  living  whole 

No  life  may  fail  beyond  the  grave 

Derives  it  not  from  what  we  have 
The  likest  God  within  the  soul? 

Are  God  and  Nature  then  at  strife, 
That  Nature  lends  such  evil  dreams? 
So  careful  of  the  type  she  seems, 

So  careless  of  the  single  life ; 

That  I,  considering  ever3rwhere 

Her  secret  meaning  in  her  deeds. 

And  finding  that  of  fifty  seeds 
She  often  brings  but  one  to  bear, 

I  falter  where  I  firmly  trod, 

And  falling  with  my  weight  of  cares 
Upon  the  great  world's  altar -stairs 

That  slope  through  darkness  up  to  God, 

I  stretch  lame  hands  of  faith,  and  grope. 
And  gather  dust  and  chaff,  and  call 
To  what  I  feel  is  Lord  of  all, 

And  faintly  trust  the  larger  hope. 

FVom  "  In  Memoriam."  TENNYSON. 

Power  is  the  right  use  or  reposeful  command  of 
force.  It  implies  voluntary  and  involuntary  forces  in 
sympathetic  co-ordination  and  control. 

Loudness  is  due  to  the  height  of  the  sound  waves. 

Volume  is  the  amount  of  tone,  including  the  height 
of  vibrations,  in  union  with  quantity  and  probably 
resonance.  As  commonly  used,  volume  seems  to  imply 
the  presence  of  resonance,  while  loudness  does  not. 

Intensity  is  the  suggestion  of  force  concentrated 
and  increased  by  control. 


xvn. 

SUPPORT  AND   STRENGTH   OF  VOICE. 

One  of  the  first  things  of  which  a  student  becomes 
conscious  is  the  weakness  of  his  tone.  His  first  ques- 
tion is  —  "  How  can  I  get  a  strong,  powerful  voice?  " 

Most  endeavors,  however,  to  secure  a  strong  voice  are 
misdirected  and  lead  to  forcing,  thus  defeating  the  end 
desired. 

Strength  of  voice  depends  upon  the  amount  of  breath 
retained  in  the  lungs  during  the  emission  of  tone. 
Students  should  be  patient  and  not  aim  directly  for 
strength,  but  first  obtain  control  of  the  breath. 
Strength  and  purity  are  normal  qualities  of  tone. 

That  strength  of  the  voice  is  not  indicated  by  loud- 
ness can  be  easily  realized  by  an  experiment.  Let  the 
student  go  out  in  the  fields  with  a  companion  and  read 
a  short  passage  at  some  little  distance  from  the  other; 
then  go  still  farther  away  and  read  again.  As  he  en- 
deavors to  make  the  other  hear,  he  will  soon  discover 
that  he  does  not  use  force  in  driving  out  the  breath  to 
carry  his  words  to  another,  but  retains  and  reserves  it. 
This  is  technically  known  as  "  supporting  tone." 

If  a  speaker  is  not  heard  in  a  hall  people  often  call 
out  for  him  to  speak  louder.  This  sometimes  is  effec- 
tive ;  but  as  a  matter  of  fact,  it  is  not  increased  volume 
that  enables  him  to  be  heard  more  easily.  If  he  speaks 
louder  he  may  take  more  breath  and  give  more  sup- 
port to  his  tone.  It  is  the  increase  in  support,  not  in 
loudness,  that  causes  the  voice  to  be  heard.  A  man 
may  speak  loud,  and  in  this  very  way  prevent  himself 
from  being  heard  or,  at  least,  imderstood.  Why  is  one 
heard  in  a  large  hall? 

ai7 


2l8  FOUNDATIONS  OF  EXPRESSION 

1.  A  man  is  heard  at  a  distance  on  account  of  the 
retention  of  breath  in  the  lungs.  If  we  throw  the 
voice  to  a  distance,  we  take  an  additional  amount  of 
breath.  It  is  this  which  causes  the  voice  to  carry,  not 
the  mere  matter  of  volume.  Volume  may  or  may  not 
increase,  but  the  breath  must  increase  if  the  voice  is  to 
travel  to  a  distance. 

2.  The  second  means  by  which  the  voice  is  propelled 
is  the  quality  of  the  tone.  Nature  loves  to  carry  a 
pure  tone.  A  noise  may  almost  deafen  us  when  very 
near,  but  if  we  are  at  a  distance,  a  band  playing  in  a 
most  noisy  street  can  be  heard  above  all  the  noise. 
Noises  have  irregular  sound  waves  and  so  are  lost;  but 
musical  tones  will  travel  much  farther  on  account  of 
the  regularity  of  the  successive  sound  waves. 

3.  A  third  help  is  the  vocal  quantity  of  syllables  due 
to  the  giving  of  the  vowels  their  proper  largeness  and 
relative  value. 

4.  A  fourth  is  distinctness  in  articulation.  This 
does  not  mean  labor  or  constriction,  but  an  easy,  eco- 
nomical and  distinct  action  in  the  production  of  every 
element,  and  also  the  proper  relation  of  the  elements 
to  each  other.  The  vowels  must  transcend  the  con- 
sonants and  the  consonants  must  be  relaxed,  free  from 
constriction,  and  as  quickly  uttered  as  possible.  The 
vowels  must  not  be  prolonged,  but  given  form  and 
largeness  so  as  to  allow  a  rich  vibration  of  their  pecu- 
liar qualities  and  union  with  the  consonants. 

5.  A  fifth  and  most  important  requisite,  if  one  is  to 
be  heard  at  a  distance,  is  a  frequent  change  of  pitch. 
When  a  number  of  words  are  spoken  on  one  key,  it  is 
difficult  for  the  hearer  to  separate  them.  But  when  a 
word  is  given  its  just  value  by  a  subtle  change  of  pitch, 
and  especially  when  phrases  which  stand  for  single 
ideas  are  each  given  upon  a  distinct  key,  with  a  dis- 
tinct interval  separating  them  from  other  phrases,  the 
words  are  easily  realized  by  the  hearer. 


SUPPORT   AlfD    STRENGTH    OF    VOICE  219 

6.  A  sixth  condition,  and  that  of  least  importance,  is 
the  degree  of  loudness  or  volume  of  the  tone. 

These  points  are  very  important  and  should  be  care- 
fully studied  by  every  student.  The  exaggerated  value 
placed  upon  loudness  and  volume,  in  speaking  in  a 
large  place,  causes  innumerable  faults,  —  a  stilted,  de- 
clamatory delivery,  an  elimination  of  inflexion,  of 
changes  of  pitch,  tone-color,  and  in  fact  of  all  the 
expressive  modulations. 

If  the  steps  already  given  for  the  training  of  the 
voice  are  faithfully  practised,  the  voice  can  be  heard, 
and  words  understood,  at  an  astonishing  distance; 
every  syllable  may  be  carried  through  a  large  hall, 
even  though  the  voice  may  not  have  been  regarded  as 
strong.  Strength  of  voice  is  easily  developed  if  right 
methods  are  used,  but  freedom,  openness,  and  purity 
must  be  developed  before  power. 

Support,  the  first  of  these  requisites,  needs  special 
attention  in  relation  to  developing  vocal  power.  It  is 
important  because  of  its  relation  to  intensity.  All 
intensity  of  feeling,  all  decision  of  touch,  depend  upon 
the  increase  of  support.  Speak  a  few  words  to  some- 
one only  three  or  four  feet  away.  Then  speak  to  one 
a  hundred  yards  away,  and  notice  what  is  done  with 
the  breath.  In  the  latter  instance  a  greater  amount 
of  breath  was  taken  in  and  retained,  and  thus  the  tone 
was  made  to  carry  to  a  great  distance.  That  is  to  say, 
fundamental  conditions  of  voice  were  accentuated 
rather  than  loudness.  The  voice  may  be  made  loud 
without  increasing  these  conditions  by  merely  pushing 
the  breath  more  forcibly  against  the  vocal  bands. 
This  is  one  cause  of  the  ruining  of  many  voices,  and  it 
certainly  produces  many  disagreeable  voices. 

In  all  training  of  the  voice  the  student  must  care- 
fully accentuate,  not  the  loudness,  but  intensity  and 
quaJity  of  the  voice ;  not  the  forceful  thrust  of  the  voice, 


220  POUITOATIONS   OF   EXPRESSION 

but  the  retention  of  a  larger  amount  of  breath  and 
more  openness  of  the  tone  passage,  and  he  will  then 
observe  that  his  voice  will  grow  strong.  Mere 
efforts  to  strengthen  the  voice  may  weaken  it  as  well 
as  hinder  true  expression.  Loudness  impairs  not  only 
the  power  of  the  voice  but  its  quality,  and  prevents 
modulation  of  the  texture  of  the  muscles  by  feeling, 
especially  the  muscles  that  retain  the  breath.  This  is 
the  primary  condition  of  all  tone-color. 

Speakers,  singers,  and  all  vocal  artists  often  experi- 
ence lack  of  support  through  nervousness,  embarass- 
ment,  or  timidity. 

Five  things  are  especially  necessary  to  overcome  self- 
consciousness  and  embarrassment,  viz. :  concentration 
of  the  mind  upon  the  ideas  to  be  expressed;  focus- 
ing the  eye  steadily  upon  the  audience;  holding  the 
body  in  easy,  stable  equilibrium;  individuaUzing  the 
ideas  so  as  to  breathe  frequently  and  in  response  to 
thinking ;  and  retention  of  breath. 

Be  yourself,  control  mind  and  body,  breathe  easily 
and  naturally,  and  keep  full  possession  of  those  mus- 
cles that  act  in  retaining  the  breath,  and  embarrass- 
ment and  unnaturalness  will  disappear. 

Support  is  often  slow  in  development,  but  constant 
work  upon  the  steps  just  indicated  will  develop  it,  and 
the  voice  will  grow  stronger  and  more  expressive  also. 
In  the  practice  of  all  exercises  for  change  in  pitch, 
inflexion,  and  especially  touch,  the  principle  of  support 
should  be  accentuated;  for  weak  or  minor  inflexions, 
lack  of  decision  in  touch,  and  many  other  faults  are 
really  caused  by  lack  of  support. 

Retain  as  much  breath  in  the  lungs  as  possible  during 
speech,  and  breathe  often,  accentuating  breathing  in 
response  to  the  rhythm  of  thinking.     Especially  ._- 
practise  intensely  passionate  lines,  sympatheti- 
cally retaining  much  breath  to  express  depth  of  feeling. 


SUPPORT  AND  STRENGTH  OF  VOICE         221 

0  lift  me  as  a  wave,  a  leaf,  a  cloud  I 

1  fall  upon  the  thorns  of  life !     I  bleed  I 

A  heavy  weight  of  hours  has  chain'd  and  bow'd 
One  too  like  thee:  tameless,  and  swift,  and  proud. 

"  Wert  Wind."  SHELLEY. 

O  God  Almighty,  blessed  Saviour,  Thou 
That  didst  uphold  me  on  my  lonely  isle, 
Uphold  me.  Father,  in  my  loneliness 
A  little  longer  I  aid  me,  give  me  strength 
Not  to  tell  her,  never  to  let  her  know. 

"  Enoch  Arden."  TENNYSON. 

Among  the  exercises  for  developing  support  should 
be  a  review  and  a  thorough  practice  of  the  first  steps, 
and  an  intensifying  of  fundamental  conditions.  The 
reader  should  also  render  dignified  passages  with  as 
much  intensity  as  possible,  and  give  especial  attention 
to  decision  of  touch,  which  is  one  of  the  direct  expres- 
sions of  control  of  breathing. 

Additional  exercises,  however,  can  be  arranged  which 
will  be  of  great  help.  One  of  these  is  the  projection  of 
tone  in  a  definite  direction  and  to  different  degrees  of 
distance. 

Render,  for  example,  the  following  lines,  projecting 
each  clause  in  a  different  direction   and  degree    ^__ 
of    distance.      By    this   it    will   be    shown    that 
the   voice  can  directly  suggest  distance  and  direction. 

Place,  for  example,  the  "  knight  "  straight  forward 
at  a  distance ;  "  fair  maids  "  nearer  on  the  left ;  "  gun- 
ners "  to  the  right,  but  at  a  great  distance ;  "  gallants  " 
all  around  the  speaker. 

Ho  1  strike  the  flag-staff  deep,  Sir  Knight  —  ho!  scatter  flowers, 

fair  maids : 
Ho !  gunners,  fire  a  loud  salute  —  ho  1  gallants,  draw  your  blades. 

MACAULAY. 

Render  short   passages   suggestive   of   breadth,   dis- 
tance, or  expansion,  not    by  loudness   but  by  a   ^„^ 
certain    elasticity  of  tone.      Contrast   loudness, 
or  the  so-called  **  orotimd,"   with  intense  realization  of 


222  FOUNDATIONS    OF    EXPRESSIOH 

each  successive  idea,  and  increase  in  the  control  of 
breath  or  support  of  voice,  and  note  how  much  more 
suggestive  than  loudness  is  intensity  of  tone. 

Ye  crags  and  peaks,  I'm  with  you  once  again  I 

I  hold  to  you  the  hands  you  first  beheld, 

To  show  they  still  are  free.     Methinks  1  hear 

A  spirit  in  your  echoes  answer  me, 

And  bid  your  tenant  welcome  home  again ! 

KNOWLES. 

**  Come  back,  come  back,  Horatius !  "  Loud  cried  the  fathers  all. 
**  Back,  Lartius  1  back,  Herminius !     Back  ere  the  ruin  fall !  " 

MACAULAY. 

"  Forward,  the  light  brigade ! 
Charge  for  the  guns !  "  he  said. 

TENNYSON. 

Render  also  passages  with  great  extension  of  the 
voice  in  all  directions.  Contrast  these  with  various 
modulations  of  the  voice  suggesting  distance,  .,_- 
breadth,  weight,  and  depth,  and  then  note  that 
in  every  case  artistic  rendering  of  such  passages  de- 
pends upon  volitional  command  of  conditions,  espe- 
cially the  retention  of  breath. 

Ye  guards  of  liberty, 
I'm  with  you  once  again !    I  call  to  you 
With  all  my  voice !     I  hold  my  hands  to  you, 
To  show  they  still  are  free.     I  rush  to  you 
As  though  I  could  embrace  you  I 

KNOWLES. 

Iwould  call  upon  all  the  true  sons  of  New  England  to  co-operate 
with  the  laws  of  man  and  the  justice  of  heaven. 

Take  a  friend  into  some  large  hall  and  speak  in 
many  ways,  noting  which  is  most  easily  understood. 
Speak  first  with  loudness,  secondly  on  a  high  ^  ^ 
pitch,  and  thirdly  in  a  soft,  natural  voice  with 
accentuation  of  the  sympathetic  vibrations,  a  great 
amount  of  breath,  an  open  tone  passage,  careful 
rhythm,  true  vocal  quantity,  long  inflexions,  and  wide 
range  of  voice. 


SUPPORT  AND  STRENGTH  OF  VOICE         223 

Note  the  tendency  to  lessen  the  amount  of  breath, 
when  weary  or  discouraged,  and  speak,  accentu-    .  g- 
ating  the  amount  of  breath  without  varying  the 
loudness.     Observe  the  greater  intensity,  the  greater 
strength  and  earnestness  that  are  suggested. 

Joy  is  the  grace  we  say  to  God. 

JEAN  INGELOW. 

Let  the  thick  curtain  fall;  I  better  know  than  all  how  little 
I  have  gained,  how  vast  the  unattained.  Sweeter  than  any 
sung  my  songs  that  found  no  tongue;  nobler  than  any  fact  my 
wish  that  failed  of  act.  Others  shall  sing  the  song,  others  shall 
right  the  wrong,  —  finish  what  I  begin,  and  all  I  fail  of  win. 

WHITTIER 

THE  FOOL'S   PRAYER. 

The  royal  feast  was  done;  the  king 
Sought  some  new  sport  to  banish  care, 
And  to  his  jester  cried,  "  Sir  Fool, 
Kneel  now,  and  make  for  us  a  prayer!  " 

The  jester  doffed  his  cap  and  bells. 
And  stood  the  mocking  court  before: 
They  could  not  see  the  bitter  smile 
Behind  the  painted  grin  he  wore. 

He  bowed  his  head,  and  bent  his  knee 
Upon  the  monarch's  silken  stool; 
His  pleading  voice  arose:   "  O  Lord, 
Be  merciful  to  me,  a  fool! 

"  No  pity.  Lord,  could  change  the  heart 
From  red  with  wrong  to  white  as  wool; 
The  rod  must  heal  the  sin;  but,  Lord, 
Be  merciful  to  me,  a  fool! 

"  'Tis  not  by  guilt  the  onward  sweep 
Of  truth  and  right,  O  Lord,  we  stay; 
'Tis  by  our  follies  that  so  long 
We  hold  the  earth  from  heaven  away. 

**  These  clumsy  feet,  still  in  the  mire, 
Go  crushing  blossoms  without  end; 
These  hard,  well-meaning  hands  we  thrust 
Among  the  heart-strings  of  a  friend. 


824  FOUNDATIONS    OF    EXPRESSION 

**  The  ill-timed  truth  we  might  have  kept  — ■ 
Who  knows  how  sharp  it  pierced  and  stung? 
The  word  we  had  not  sense  to  say  — 
Who  knows  how  grandly  it  had  rung? 

*•  Our  faults  no  tenderness  should  ask, 
The  chastening  stripes  must  cleanse  them  all; 
But  for  our  blunders  —  oh,  in  shame 
Before  the  eye^  of  heaven  we  fall. 

•'  Earth  bears  no  balsam  for  mistakes ; 
Men  crown  the  knave,  and  scoxu-ge  the  tool 
That  did  his  will ;  but  thou,  O  Lord, 
Be  merciful  to  me,  a  fool!  " 

The  room  was  hushed ;  in  silence  rose 
The  king,  and  sought  his  gardens  cool, 
And  walked  apart,  and  murmured  low, 
'♦  Be  merciful  to  me,  a  fool ! " 

EDWARD  ROWLAND  SILL. 

Support  is  proportioned  to  the  amount  of  breath 
reserved  in  the  lungs  during  the  production  of  a  tone. 

Strength  of  Voice  is  due  to  the  degree  of  support  or 
to  the  control  of  intensity  and  volume. 


xvm. 

FLEXIBILITY  OF  VOICE. 

Not  only  must  the  voice  be  trained  to  change  pitch 
and  to  make  inflexions  with  ease,  but  there  are  other 
phases  of  facility  or  pliability  which  are  fully  as  neces- 
sary and  important.  Exercises  for  the  development  of 
the  power  to  change  pitch  and  to  vary  inflexions  and 
range  have  been  given  under  the  term  Agility. 

The  power  to  vary  the  force,  degree  of  intensity,  and 
volume  may  be  called  Flexibility.  Agility  has  mere  to 
do  with  form  and  melody;  flexibility,  with  rhythm. 

While  agility  and  flexibility  are  akin  to  each  other, 
the  exercises  for  each  must  be  carefully  distinguished. 
Many  voices  have  some  agility  but  are  without  flexi- 
bility. Others  are  flexible,  but  have  a  narrow  range. 
Perfect  responsiveness  of  the  voice  to  mind,  whether  in 
speech  or  song,  demands  the  development  of  both. 

I.  Accentuation.  One  important  element  of  speech 
is  the  right  accentuation  of  syllables.  Laying  aside  the 
question  whether  accentuation  is  increase  of  volume  or 
variation  of  pitch  on  some  one  syllable,  we  may  easily 
note  that  inflexion  and  touch  directly  correspond  with 
the  accented  vowel. 

The  accent  of  words  in  English  is  almost  as  difficult 
for  a  foreigner  to  conquer  as  its  melody.  It  should  be 
the  first  step  in  the  development  of  vocal  flexibility. 

First,  select  words  with  only  a  few  syllables,  then 
with  many,  and  pronounce  them  on  one  pitch  of  an 
instnmient,  giving  as  decided  an  accent  as  possible  to 
the  right  vowel.  Repeat  the  word  upon  different 
pitches  imtil  the  main  syllable  and  the  subordinate  ones 

22j 


226  FOUNDATIONS    OF    EXPRESSION 

can  be  carefully  discriminated;  then  speak  such  words 
with  various  inflexions  as  well  as  the  right  accent. 

Another  step  is  the  giving  of  the  right  touch  to  the 
central  word  of  the  phrase. 

Even  the  ablest  singers  often  have  poor  recitative. 
Take  a  simple  poem,  or  even  a  passage  in  prose,  and 
read  it  carefully,  accenting  the  central  ideas  by  simple 
force,  preserving  the  right  quantity  for  all  unaccented 
syllables  and  giving  the  true  quantity  and  rhythm  to 
words  and  phrases. 

This  power  to  give  right  quantity  to  all  vowels  and 
right  accent  to  the  central  words  on  a  definite  pitch  is 
one  of  the  rarest  attainments.  The  right  practice  of 
it  will  secure  control  of  breathing,  openness  of  the 
tone  passage,  and  will  be  a  great  aid  in  improving  the 
voice.  But  the  chief  advantage  is  in  giving  to  all  the 
elements  of  speech  their  right  quantity  and  to  succes- 
sive syllables  and  words  their  right  degree  of  force. 

It  is  a  very  helpful  exercise  to  singers.  The  art  of 
song  in  our  time  is  apt  to  be  mechanical  and  artificial. 
Syllables  are  prolonged  entirely  without  regard  to 
thought  or  feeling,  and  while  this  may  be  more  or  less 
necessary,  in  certain  melodies  or  songs,  the  higher  art 
of  recitative  found  in  the  great  oratorios  is  based  upon 
the  true  speech  quantity  and  accent  without  inflexion. 
The  student  should  develop  the  power  to  give  such 
flexibility  to  words  and  clauses  as  will  suggest  their 
true  thought  and  spirit.  Of  course,  in  natural  speech 
this  flexible  modulation  of  force  is  united  with  the  agility 
of  intervals  and  inflexions  which  is  more  expressive  of 
thought. 

2.  Centrality  and  the  Subordinate  Touch.  The 
student  should  review  the  exercises  in  touch  at  this 
point  or  practise  new  problems  with  different  selections 
for  further  mastery  of  this  important  but  neglected 
element  in  vocal  expression. 


FLEXZBILITY   OF   VOICE  2 27 

One  point  which  should  now  be  recognized  in  addi- 
tion to  rhythmic  alternation  between  silence  and 
speech,  is  the  rhythmic  alternation  between  the  for- 
cible touch  upon  the  central  word  and  the  lighter  accent 
and  touch  upon  the  syllables  and  words  which  form 
the  subordinate  parts  of  the  sentence  or  phrase. 

The  touch  in  all  imtrained  voices,  even  in  the  central 
and  important  words,  will  be  found  indefinite  and 
weak.  Every  kind  of  drag,  push,  or  swell  can  be  noted. 
These  must  be  corrected  by  practices  already  indicated; 
but  what  may  be  called  the  unaccented  or  the  sub- 
ordinate touch,  also  needs  attention.  If  the  central 
word  has  a  false  touch,  the  unaccented  syllables  and 
words  of  a  phrase  are  often  completely  slighted  or 
given  with  drags,  without  any  proper  moulding  of  the 
elements  or  any  subtle  discrimination  of  their  relations 
to  the  central  word. 

A  thorough  mastery  of  the  principle  of  vocal  train- 
ing, which  should  also  be  carefully  reviewed  at  this 
point,  will  help  to  conquer  all  of  these  faults,  but  the 
principles  should  be  appUed  carefully  to  touch  in  the 
rendering  of  the  simplest  passages  and  in  patient  and 
persevering  practice. 

3.  Metre.  One  of  the  beautiful  phases  of  speech 
is  the  rhythmic  alternation  of  syllables.  This  is  the 
delicate  poise  or  balance  between  the  accented  and 
unaccented  syllables  of  words,  a  certain  proportion  or 
regularity  in  their  arrangement  or  succession. 

The  rhythmic  arrangement  or  alternation  of  syllables 
when  in  regular  order  is  called  metre  or  verse;  but  we 
must  not  fail  to  recognize  that  the  same  principle  of 
rhythmic  alternation  is  found  in  beautiful  prose  and  in 
every  phrase  of  common  speech. 

The  mastery  of  metre  is  one  of  the  most  important 
steps  for  the  development  of  right  flexibility  of  the  voice. 

There  are  two  phases  of  metre,  quantity,  and  degree 
of  force  or  accent- 


228  FOUWDATIONS   OF   EXPRESSION 

In  the  Greek  and  Latin  languages  there  was  distinc- 
tion of  the  length  of  syllables,  so  that  quantity  played 
a  greater  role  in  Greek  and  Latin  verse  than  in  EngUsh. 
But  he  who  discards  quantity  and  fails  to  see  that  it 
plays  a  very  important  part  in  vocal  expression  and  in 
metre  will  lose  the  chief  aspect  of  the  subject.  In 
English,  as  a  rule,  metre  is  foimded  more  upon  flexi- 
bility of  accent,  yet  quantity  must  not  be  disregarded. 

Observe  the  beautiful  quantity  of  some  word,  and 
how  subordinate  syllables  are  often  completely  obscured 
or  constricted  in  conversation.  Sometimes  a  vowel  or 
syllable  is  made  so  short  that  it  is  hardly  distinguished. 
At  other  times  a  syllable  is  dragged  until  it  is  out  of  its 
true  proportion. 

A  list  of  words  such  as  those  which  were  given 
nearly  a  century  ago  in  Gardiner's  **  Music  of  Nature  ** 
should  be  made  and  practised  for  the  development  of 
a  sense  of  quantity  and  the  relative  value  of  syllables. 

The  student  should  also  render  passages  with  sym- 
pathetic modulation  of  quantity,  to  express  seriousness, 
awe,  reverence,  or  other  deep  feeling. 

This  is  totally  different  from  "  median  stress."  It  is 
simply  the  relative  quantity  of  the  vowels  or  syllables. 

Do  you  recognize  at  once   in  the  following  a  -^.^ 
metric  structiu-e? 

Sometimes,  a-dropping  from  the  sky,  I  heard  the  skylark  sing; 
sometimes  all  little  birds  that  are  how  they  seemed  to  fill  the  sea 
and  air  with  their  sweet  jargoningi  And  now  'twas  like  all 
instrtmients,  now  like  a  lonely  flute;  and  now  it  is  an  angel's 
song,  that  makes  the  heavens  be  mute.  It  ceased ;  yet  still  the 
sails  made  on  a  pleasant  noise  till  noon  —  a  noise  like  of  a  hidden 
brook  in  the  leaiy  month  of  June,  that  to  the  sleeping  woods  all 
night  singeth  a  quiet  tune. 

"Rhyme  of  the  Ancient  Mariner."  COLERIDGE- 

Do  you  recognize  in  speaking  the  following  words 
that  it  is  a  lack  of  the  sense  of  metre  which   -„„ 
causes  the  almost  xmiversal  fault  in  their  pro- 
nunciation. 


FLEXIBILITY    OF   VOICE  229 

Family.  Library.  Masterly.  Simplicity.  Encyclopedia. 
Mesopotamia.  Indifferent.  Consecutive.  Happily.  Truth- 
ftilly-     Syllable. 

Many  poems  in  this  book  are  printed  as  prose,  not 
because  metre  and  length  of  Hne  are  unimportant,  but 
to  show  the  nature  of  metre,  the  value  of  length  of 
line,  and  to  prevent  a  mechanical  pausing  at  the  end 
of  lines  of  poetry;  also  to  cultivate  in  the  reading  of 
metre  the  accentuation  of  the  true  spirit  of  metric 
movement,  which  is  more  important  than  length  of  line. 

While  it  is  necessary  to  recognize  and  master  the 
exact  character  of  every  foot,  metre  must  not  be  re- 
garded as  artificial.  It  is  not  an  unmeaning  mechan- 
ical modulation  of  force.  The  metre  of  a  well  written 
poem  is  expressive  of  its  deepest  spirit,  it  can  only  be 
hinted  in  print.  It  belongs  to  speech,  and  in  a  poem 
printed  as  prose  the  discovery  of  metre  must  come 
through  the  living  voice,  not  through  the  eye. 

The  meaning  of  metre  is  difficult  to  define ;  an  imder- 
standing  must  be  gained  from  living  examples.  The 
student  must  feel  that  which  is  appropriate  and  that 
which  is  inappropriate,  and  give  a  true  rendering  of 
its  spirit. 

In  general  the  iambic  expresses  heroism,  resolution, 
progression;  the  trochaic,  tenderness,  appeal,  gentle- 
ness. Note  the  number  of  tender,  prayerful  hymns  in 
this  metre.  The  spondee  expresses  balance,  pause,  rev- 
erence or  contemplation.  Observe  the  predominance 
of  this  foot  in  Gray's  Elegy.  The  pyrrhic  is  never 
foimd  except  in  union  with  other  feet.  It  expresses 
restlessness,  movement,  transition.  It  is  often  fol- 
lowed by  a  spondee.  The  two  feet  blend  into  a  larger^ 
broader  kind  of  iambus. 

Triple  metres  are  more  flexible  than  dual.  If  the 
dual  suggests  a  walk,  the  triple  suggests  a  nm.  The 
triple  usually  expresses  ideaUty,  grace,  and  movement. 


83©  FOUNDATIONS   OF   EXPRESSION 

There  is,  however,  correspondence  in  meaning.  The 
anapestic,  corresponds  with  the  iambic,  and  the  two 
are  often  found  in  the  same  line.  Observe  the  beauti- 
ful union  of  these  two  in  Goethe's  "  Erlkonig " 
which  is  not  found  in  Scott's  translation.  The  dactylic 
is  closely  connected  in  meaning  with  the  trochaic. 

Certain  forms  of  the  amphibrach  are  closely  con- 
nected in  meaning  with  the  spondee. 

Wer  reitet  so  spiit  durch  Nacht  und  Wind? 
Es  ist  der  Vater  mit  seinem  Kind  * ; 
Er  hat  den  Knaben  wohl  in  dem  Arm; 
Er  fasst  ihn  sicher,  er  halt  ihn  warm. 

GOETHE. 

O  who  rides  by  night  thro'  the  woodland  so  wild? 
It  is  the  fond  father  embracing  his  child; 
And  close  the  boy  nestles  within  his  loved  arm, 
To  hold  himself  fast,  and  to  keep  himself  warm. 

SCOTT'S  TRANSLATION   FROM  GOETHE. 

Arrange  several  lines  with  the  different  feet  in  direct 
contrast  and  practise  these  in  recitative  and  also  in 
speechj  accentuating  the  feet,  as  far  as  possible,  -„. 
and  training  the  ear  to  recognize  them.  Be 
sure  to  accentuate  the  strong  syllables  in  direct  oppo- 
sition to  subordinate  ones  but  preserve  the  normal  pro- 
portions. This  is  an  important  exercise  in  developing 
flexibility-of  voice. 

Everjrwhere  the  gate  of  Beauty 

Fresh  across  the  pathway  swings 
As  we  follow  truth  or  duty 

Inward  to  the  heart  of  things: 
And  we  enter,  foolish  mortals, 

Thinking  now  the  heart  to  find, 
There  to  gaze  on  vaster  portals  1 

Still  the  glory  lies  behind. 

NOT  KNOWN. 
Come  into  the  garden,  Maud, 

For  the  black  bat,  night,  has  flown, 
Come  into  the  garden,  Maud, 

1  am  here  at  the  gate  alone; 
And  the  woodbine  spices  are  wafted  abroad, 

And  the  musk  of  the  rose  is  blown. 

•  M«ud."  TENNYSON. 


FLEXIBIUTY   OF   VOICE  231 

The  cxirfew  tolls  the  knell  of  parting  day. 
The  lowing  herd  winds  slowly  o'er  the  lea, 

The  ploughman  homeward  plods  his  weary  way, 
And  leaves  the  world  to  darkness  and  to  me. 

How  fades  the  glimmering  landscape  on  the  sight, 
And  all  the  air  a  solemn  stillness  holds, 

Save  where  the  beetle  wheels  his  dronmg  flight. 
And  drowsy  tinklings  lull  the  distant  folds: 

HOW   ARE    SONGS    BEGOT    AND    BRED. 

How  are  songs  begot  and  bred? 
How  do  golden  measures  flow? 
From  the  heart,  or  from  the  head, 
Happy  poet,  let  me  know. 

Tell  me  first  how  folded  flowers 
Bud  and  bloom  in  vernal  bowers; 
How  the  south  wind  shapes  its  tune, 
The  harper,  he,  of  June. 

None  may  answer,  none  may  know. 
Winds  and  flowers  come  and  go, 
And  the  selfsame  canons  bind 
Natiu-e  and  the  poet's  mind. 

THE    UNEXPRESSED. 

Strive  not  to  say  the  whole  1  the  poet  in  his  art. 
Must  intimate  the  whole,  and  say  the  smallest  part. 
The  young  moon's  silver  arc,  her  perfect  circle  tells, 
The  limitless,  within  Art's  bounded  outline  dwells. 
Of  every  noble  work,  the  silent  part  is  best; 
Of  all  expression,  that  which  cannot  be  expressed. 
Each  act  contains  the  life,  each  work  of  art,  the  world. 
And  all  the  planet-laws  are  in  each  dewdrop  pearled. 

STORY. 

Sailing  away,  losing  the  breath  of  the  shores  in  May. 
The  Assyrian  came  down  like  a  wolf  on  the  fold, 

"  Destruction  of  Sennacherib  '  BYRON. 

As  the  marsh  hen  secretly  buiid"  '>d  th_  watery  sod. 

Behold  1  will  build  me  a  net     :  the  greatness  of  God  I 

I  will  fly  in  the  greatness  of  God  as  the  marsh  hen  flies 

In  the  freedom  that  fills  all  the  space  'twixt  the  marsh  and  the  skiea 

"  Marshes  of  Glynn  "  SIDNEY  LANIER. 

Passion  the  fathomless  spring,  and  words  the  precipitate  waters, 
Rh3rthm  the  bank  that  binds  these  to  their  musical  bed. 

•  The  Lyrical  Poem '■  RICHARD  GARNETT 


232  FOUNDATIONS   OF   EXPRESSION 

I  sprang  to  the  stirrup,  and  Joris,  and  he, 
I  galloped,  Dick  galloped,  we  galloped  all  three.  . 
Not  a  word  to  each  other,  we  kept  the  great  pace, 
Neck  by  neck,  stride  by  stride,  never  changing  our  place. 

"  Ride  from  Ghent  to  Aix."  BROWNING. 

Many  combinations  of  these  metric  feet  should  be 
observed.  Note  that  in  good  authors  there  is  never 
found  a  continuous  mechanical  use  of  one  foot  in  a 
poem.  There  are  constant  transitions.  Some  of  these 
occur  so  frequently  as  to  be  named,  such  as  the  core- 
ambus  which  is  generally  used  either  with  the  spondee 
or  with  iambic  metric  movement. 

Observe,  for  example,  that  the  first  four  syl-   ^^_ 
lables  in  the  following  are  expressed  in  this  foot. 

Sun  of  my  soul,  my  Saviour  dear, 
It  is  not  night  if  Thou  art  near. 

Note  the  coreambus  in  the  first  line  but  the  pyrrhic 
at  the  beginning  of  the  second.  That  is,  in  the  first, 
there  is  a  long  and  two  short  and  a  long  syllable  in 
succession;  in  the  second,  there  are  three  short  syl- 
lables followed  by  a  long  one.  Observe,  however,  that 
the  second  foot  may  be  read  as  a  coreambus.  Some 
prefer  to  read  it  so,  and  this  is  perfectly  legitimate. 

Take  some  poem  and  study  its  spirit  and  the 
predominant  foot,  and  also  any  change  in  its 
metre,  and  the  meaning  of  this. 

RENCONTRE. 

Toiling  across  the  Mer  de  Glace 

I  thought  of,  longed  for  thee; 
What  miles  between  us  stretched,  alas 

What  miles  of  land  and  sea  I 

My  foe,  undreamed  of,  at  my  side 

Stood  suddenly,  like  Fate. 
For  those  who  love,  the  world  is  wide, 

But  not  for  those  who  hate. 

T.  B.  ALDRICH. 


FLEXIBILITY   OF   VOICE  333 

No,  I  will  weep  no  more.     In  such  a  night 

To  shut  me  out  I     Pour  on;  I  will  endure. 

In  such  a  night  as  this!     O  Regan,  Gonerill 

Your  old  kind  father,  whose  frank  heart  gave  all,  — 

O,  that  way  madness  lies;  let  me  shun  that; 

No  more  of  that. 

Exercise  great  diligence  in  finding  the  real  nature  as 
well  as  the  spirit  of  the  rhythm  of  different  poems. 
We  can  easily  make  a  mistake  in  deciding  what  metre 
belongs  to  a  poem.  There  is  often  possible  a  difference 
in  the  rendering.  The  student  should  endeavor  to 
read  a  poem  of  one  metre  in  another  and  note  the 
discords  thus  produced.  But  he  should  also  observe 
the  practices  of  careless  readers,  and  that  the  metre  is, 
by  even  the  best  actors,  often  completely  perverted  or 
at  least  wholly  unrecognized. 

Note  also,  that  in  many  poems,  the  feet  are  read  dif- 
ferently by  different  persons.  Such  freedom  is  allow- 
able so  long  as  the  true  spirit  of  the  poem  is  expressed, 
but  observe  that  a  poem  may  be  read  with  a  total  per- 
version of  metre.  A  trochaic  poem  may  be  read  as 
an  iambic,  an  iambic  as  trochee,  a  spondee  in  the  iambic 
spirit,  and  so  on.  It  is  very  difficult  for  some  to  realize 
the  difference,  and  even  Shakespeare's  great  lines  are 
often  rendered  with  total  disregard  of  their  metric  struc- 
ture. This  is  not  due  to  inattention  but  to  not  having 
received  any  training  in  the  real  spirit  of  metre. 

Observe  also  that  metre  is  not  a  phase  of  print  but 
of  vocal  expression.  That  metre  belongs  to  vocal  ex- 
pression can  be  seen  by  any  one  who  will  observe  that 
the  delivery  of  some  speakers  will  be  spondaic,  that  of 
others  iambic,  and  of  still  others  trochaic.  Sometimes 
a  speaker  will  change  from  one  to  the  other.  These 
metric  movements,  or  phases  of  rhythm,  are  universal, 
but  they  receive  a  definite  expression  only  in  metre. 

Can  you  read  the  following  prose  extract  in  the 
spirit  of  different  metres?    What  is  the  difference  in 


234 


FOUNDATIONS    OF    EXPRESSION 


meaning?    Why   do   many  speakers   let    their  voices 
drop    at    the    end   of  sentences?    Has  this    any 
kinship  with  the  trochaic  movement? 

It  is  only  by  work  that  thought  can  be  made  healthy. 

RUSKIN. 

Art  is  never  art  till  it  is  more  than  art;  the  finite  exists 
only  as  the  body  of  the  infinite.  The  man  of  genius  must  first 
know  the  infinite,  unless  he  wishes  to  become,  not  a  poet,  but  a 
maker  of  idols. 

KINGSLEY. 

He  will  fail  in  the  highest  and  sublimest  phase  of 
vocal  expression  who  has  not  wrestled  with  the  un- 
printable elements  of  metre.  One  must  master,  on 
the  one  hand,  the  flexibility  of  the  voice;  on  the  other, 
that  deep  spirit  with  which  rhythmic  sequence  of 
syllables  expresses  all  varieties  of  feeling,  —  from  mere 
restlessness  to  intense  sympathy  with  suffering. 

The  student  should  observe  also,  while  on  the  sub- 
ject of  metre,  the  meaning  of  length  of  Hne  and  even 
length  of  stanza.  Many  poems  in  this  book  are  printed 
as  prose  in  order  to  give  the  student  an  opportunity  to 
write  out  such  poems  or  to  mark  them  according  to 
their  metric  structure,  and  also  as  a  means  of  awaken- 
ing in  him  a  sense  of  the  true  spirit  of  poetic  form. 
Usually  a  short  extract  is  printed  in  proper  form 
with  the  whole  printed  as  prose  in  another  place.  In 
every  case  attention  should  be  given  to  the  real  spirit 
of  a  poem  as  expressed  by  its  form. 

MY    RESOURCES. 

Thine  are  the  star-sown  spaces ; 

The  salt-sea  depths  are  Thine ; 
Thy  riches  none  can  measure ; 

A  little  need  is  mine. 
Swift  lightnings  do  Thy  bidding, 

And  the  slow,  moon-drawn  tide; 
All  forces  act  Thy  pleasure ; 

My  need  will  be  supplied. 

EMILY  TOLMAN. 


FLEXIBILITY   OP   VOICE  235 

Hail  to  thee,  blithe  spirit  I 

Bird  thou  never  wert, 
That  from  heaven,  or  near  it, 

Pourest  thy  full  heart 
In  profuse  strains  of  unpremeditated  art. 

SHELLEY 

Puck      How  now,  spirit,  whither  wander  you? 
Fairy.     Over  hill,  over  dale. 

Thorough  bush,  thorough  briar, 
Over  park,  over  pale, 
Thorough  flood,  thorough  fire, 
I  do  wander  everywhere, 
Swifter  than  the  moone's  sphere; 
And  I  serve  the  fairy  queen, 
To  dew  her  orbs  upon  the  green: 
The  cowslips  tall  her  pensioners  be; 
In  their  gold  coats  spots  you  see ; 
Those  be  rubies,  fairy  favours,  — 
In  those  freckles  live  their  savours; 
I  must  go  seek  some  dew-drops  here, 
And  hang  a  pearl  in  every  cowslip's  ear. 

"MJdsummer Night's  Dream."  SHAKESPEARE. 

The  reader  should  carefully  distinguish  between  the 
metre  of  poetry  and  the  rhythm  of  prose.  He  should 
also  read  poetry  in  such  a  way  as  to  balance  or  ^^^ 
co-ordinate  the  natural  rhythm  or  alternation 
between  pause  and  touch,  thought  and  speech,  with 
the  metric  movement.  Study  also  authors  like  Whit- 
man, who  have  discarded  metre  as  being  mechanical, 
for  an  ideaUzed  rhythm  as  being  less  conventional 
and  capable  of  deeper  expression.  A  mastery  of  all 
these  will  develop  flexibility  of  the  voice. 

Truth  alone  is   not  sufficient;   truth  is  the  arrow,  but  man  is 
the  bow  that  sends  it  home. 

BEECHER. 

Ah,  what  can  ever  be  more  stately  and  admirable  to  me  than  mast^ 

hemmed  Manhattan? 
River  and  sunset  and  scallop-edged  waves  of  flood-tide? 
The  sea-gulls  oscillating  their  bodies,  the  hay-boat  in  the  twilight, 

and  the  belated  lighter? 

"  Crowing  Brooklyn  Ferry.'  WALT  WHITMAN 


236  FOUNDATIONS   OF   EXPRESSION 

Mark  out  and  define  the  meaning  of  length  of  line, 
stanza,  the  predominant  metric    foot,   and   the   ^^^ 
changes    of   metre   in   Shelley's    "  Skylark "    or 
other  poems  printed  as  prose,  and  render  all  these  with 
the  voice. 

TO    A    SKYLARK. 

Hail  to  thee,  blithe  spirit !  —  bird  thou  never  wert,  —  that 
from  heaven,  or  near  it,  pourest  thy  full  heart  in  profuse  strains 
of  unpremeditated  art.  Higher  still,  and  higher,  from  the  earth 
thou  springest  like  a  cloud  of  fire ;  the  blue  deep  thou  wingest,  and 
singing  still  dost  soar,  and  soaring,  ever  singest.  In  the  golden 
lightening  of  the  svmken  sun,  o'er  which  clouds  are  brightening, 
thou  dost  float  and  run,  like  an  unbodied  joy  whose  race  is  just 
begun.  The  pale  purple  even  melts  around  thy  flight:  like  a 
star  of  heaven  in  the  broad  daylight,  thou  art  unseen,  but  yet  I 
hear  thy  shrill  delight.  Keen  as  are  the  arrows  of  that  silver 
sphere,  whose  intense  lamp  narrows  in  the  white  dawn  clear 
until  we  hardly  see,  we  feel  that  it  is  there.  All  the  earth  and 
air  with  thy  voice  is  loud,  as  when  night  is  bare,  from  one  lonely 
cloud  the  moon  rains  out  her  beams,  and  heaven  is  overflowed. 

What  thou  art  we  know  not:  what  is  most  like  thee?  From 
rainbow  clouds  there  flow  not  drops  so  bright  to  see,  as  from  thy 
presence  showers  a  rain  of  melody.  Like  a  poet  hidden  in  the 
light  of  thought,  singing  hymns  unbidden  till  the  world  is  wrought 
to  sympathy  with  hopes  and  fears  it  heeded  not.  Like  a  high- 
born maiden  in  a  palace  tower,  soothing  her  love-laden  soul 
in  secret  hour  with  music  sweet  as  love,  which  overflows  her 
bower.  Like  a  glow-worm  golden  in  a  dell  of  dew,  scattering 
unbeholden  its  aerial  hue  among  the  flowers  and  grass,  which 
screen  it  from  the  view.  Like  a  rose  embowered  in  its  own 
green  leaves,  by  warm  winds  deflowered,  till  the  scent  it  gives 
makes  faint  with  too  much  sweet  these  heavy-winged  thieves. 
Sound  of  vernal  showers  on  the  twinkling  grass,  rain-awakened 
flowers,  all  that  ever  was  joyous,  and  clear,  and  fresh,  thy  music 
doth  surpass. 

Teach  us,  sprite  or  bird,  what  sweet  thoughts  are  thine:  I 
have  never  heard  praise  of  love  or  wine  that  panted  forth  a 
flood  of  rapture  so  divine.  Chorus  hymeneal,  or  triumphal 
chant,  matched  with  thine  would  be  all  but  an  empty  vaunt  — 
a  thing  wherein  we  feel  there  is  some  hidden  want.  What 
objects  are  the  fountains  of  thy  happy  strain?  what  flelds,  or 
waves,  or  mountains?  what  shapes  of  sky  or  plain?  what  love 
of  thine  own  kind?  what  ignorance  of  pain?  With  thy  clear 
keen  joyance,  languor  cannot  be:  shadow  of  annoyance  never 
came  near  thee:  thou  lovest;  but  ne'er  knew  love's  sad  satiety. 


FLEXIBILITY   OF  VOICE  237 

Waking  or  asleep,  thou  of  death  must  deem  things  more  true 
and  deep  than  we  mortals  dream,  or  how  could  thy  notes  flow 
in  such  a  crystal  stream?  We  look  before  and  after,  and  pine 
for  what  is  not :  our  sincerest  laughter  with  some  pain  is  fraught : 
our  sweetest  songs  are  those  that  tell  of  saddest  thought.  Yet 
if  we  could  scorn  hate,  and  pride,  and  fear;  if  we  were  things 
born  not  to  shed  a  tear,  I  know  not  how  thy  joy  we  ever  could 
come  near.  Better  than  all  measures  of  delight  and  sound, 
better  than  all  treasures  that  in  books  are  found,  thy  skill  to 
poet  were,  thou  scomer  of  the  ground !  Teach  me  half  the  glad- 
ness that  thy  brain  must  know,  such  harmonious  madness  from 
my  lips  would  flow,  the  world  should  listen  then,  as  I  am  listening 
now. 

SHELLEY. 
A    PINE-TREE    BUOY. 

Where  all  the  winds  were  tranquil, 

And  all  the  odors  sweet, 
And  rings  of  tumbling  upland 

Sloped  down  to  kiss  your  feet: 

There,  in  a  nest  of  verdure, 

You  grew  from  bud  to  bough ; 
You  heard  the  song  at  mid-day,  — 

At  eve  the  plighted  vow. 

But  fate  that  gives  a  guerdon 

Takes  back  a  double  fee: 
She  hewed  you  from  your  homestead 

And  set  you  in  the  sea. 

And  every  bowling  billow 

Bends  down  your  barren  head 
To  hearken  if  the  whisper 

Of  what  you  knew  is  dead. 

HARRISON   SMITH   MORRIS. 

Note  that  in  speaking  indifferently  upon  a  subject  or 
when  there  is  a  lack  of  preparation,  speakers  often  fall 
into  a  certain  monotonous  and  mechanical 
rhythm.  Speak  upon  some  important  subject, 
changing  the  point  of  view  and  the  feeling  as  often  as 
possible,  and  note  especially  that  rhythm  varies  with 
every  clause,  according  to  its  impor.an  e. 

Flexibility  is  facihty  in  the  control  of    force    as 
expressed    in    the    amount    and    use    of    the    breath. 


238  FOUITDATIONS    OF    EXPRESSION 

Agility  is  readiness  in  the  response  of  the  vocai 
bands.    The  first  refers  to  force ;  the  second  to  form. 

Rhythm  is  proportion  in  the  alternation  of  action 
and  reaction.  It  is  present  in  proportion  to  the  unity 
and  reposeful  application  of  force.  Rhythm  is  de- 
stroyed by  discordant  forces  which  do  not  blend  in  imity. 

Metre  is  rhythm  of  syllables  in  relation  to  either 
quantity  or  accent,  or  both. 

Quantity  refers  chiefly  to  the  time  granted  to  a 
syllable. 

The  Iambus  is  the  successive  alternation  of  weak 
and  strong  syllables.  It  expresses  resolution,  deter- 
mination, intensity,  control,  and  progression. 

The  Trochee  is  the  succession  or  alternation  of  a 
strong  followed  by  a  weak  syllable.  It  is  expressive  of 
tenderness,  sympathy,  prayerful  appeal,  restlessness,  or 
searching  for  repose. 

The  Spondee  is  the  succession  of  two  strong  syllables. 
It  expresses  reverence,  balance,  meditation,  contem- 
plation, repose. 

The  Anapestic  foot  expresses  the  spirit  of  the  iam- 
bus with  greater  flexibility. 

The  Dactyl  expresses  the  same  spirit  as  the  trochee 
with  the  addition  of  a  greater  degree  of  flexibility,  ten- 
derness, and  pulsating  passion. 

The  Amphibrach  possesses  different  forms:  one,  a 
short  syllable  between  two  long  ones,  which  is  similar 
to  the  spondee;  another  has  a  long  syllable  between 
two  short  ones,  which  expresses  humor,  or  a  certain 
rollicking  spirit  or  heartiness  almost  amounting  to 
recklessness. 


XIX. 

ASSIMILATION  AND   SYMPATHY. 

Words  can  be  spoken  as  mere  words,  unrelated  to 
ideas;  this  is  pronunciation,  not  expression.  They  can 
be  spoken  in  a  way  to  express  individual  ideas.  We  can 
also  utter  them  so  as  to  reveal  relations  of  ideas,  or 
thought.  Again,  we  can  express  by  them  situations, 
ideal  or  imaginative  relationships;  and  lastly,  we  can, 
in  addition  to  these,  express  feelings  and  emotions. 

Perfect  expression  includes  all  of  these  utterances. 
They  more  or  less  imply  each  other,  but  in  ordinary 
conversation,  and  even  in  pubUc  speaking  the  last  two 
are  often  absent.  But  always  in  reading,  speaking,  and 
conversation,  where  full  participation  in  life's  experi- 
ences is  found,  and  in  proportion  to  the  genuineness  of 
expression,  these  elements  will  be  united.  We  may 
have  many  degrees  of  realization  of  an  idea;  we  may 
identify  ourselves  with  a  truth  so  as  to  give  it  specific 
situation  and  relationship  to  living  experience.  A  man 
may  speak  from  his  memory,  from  his  understanding, 
or  from  his  imaginative  conception,  but  genuine  expres- 
sion implies  identification  of  the  individual  with  his 
fellowmen,  a  participation  in  all  experiences,  a  creative 
and  sympathetic  imagination  that  awakens  emotion 
and  gives  color  to  every  fact. 

In  proportion  as  mere  statements  are  made,  there  is 
lack  of  expression.  Truth  is  deeper  than  fact.  It  is 
the  result  of  insight.  "  No  man  can  give  anything  to 
his  fellowman  but  himself."  To  convey  a  thought 
clearly  is  the  beginning  of  expression;  but  its  climax  is 
the  revelation  of  living  experience. 

239 


240  FOUNDATIONS    OF    EXPRESSION 

The  true  aim  of  all  education  is  to  awaken  one*s 
faculties,  to  make  one  a  participant  in  life.  It  is  not 
enough  to  know  a  truth,  it  must  be  assimilated.  Assimi- 
lation is  but  a  name  for  that  instinct  by  which  a 
human  being  identifies  himself  with  an  idea,  situation, 
or  event,  or  lives  the  life  of  his  fellows.  It  is  founded 
upon  imagination,  but  it  is  more  than  that.  Imagina- 
tion gives  insight*  but  sympathy  causes  identification 
and  participation. 

The  mere  abstract  understanding  of  a  fact  has  little 
effect  upon  men.  In  fact,  when  we  convey  to  our 
fellowmen  a  statement  with  perfect  clearness,  we  nearly 
always  transmit,  at  the  same  time,  consciously  or  un- 
consciously, an  impression  favorable  or  unfavorable 
to  its  reception.  This  associated  impression  is  due  to 
our  own  experience,  our  attitude  toward  the  truth  or 
toward  the  person  to  whom  we  speak.  The  climax  of 
all  expression  consists  in  the  deep  realization  of  truth, 
and  the  presentation  of  it  as  an  object  of  love  and  joy. 
Truth  implies  the  right  kinship  or  relationship  of  a 
fact  to  the  human  soul,  and  without  sympathetic 
instinct  no  man  can  really  proclaim  it. 

I.  Identification.  Next  to  the  lack  of  intellectual 
attention  and  concentration  as  a  prolific  cause  of 
faults  in  vocal  expression  is  a  certain  negative  attitude 
of  mind,  or  the  keeping  of  the  idea  or  story  outside  of 
the  realm  of  feeling.  Many  read  with  little  reaUza- 
tion  of  events  and  what  there  is  takes  place  either  fol- 
lowing the  pronunciation  of  each  phrase,  or,  at  any  rate, 
sympathy  is  not  allowed  to  affect  in  any  way  the  voice. 
In  true  rendering  there  is  a  definite  assimilation  of 
each  idea  before  expression;  a  sympathetic  identifica- 
tion of  the  reader  with  each  discovery  and  event. 

Ordinarily  in  the  telling  of  a  simple  story  we  do  not 
remain  negative,  but  identify  ourselves  sympathetically 
with  every  scene  and  character.    In  quoting  appreci- 


ASSIMILATION    AND    SYMPATHY 


241 


atively  the  words  of  another  we  are  inevitably  led  to  a 
realization  of  his  manner,  peculiarities  and  character. 
Every  one  recognizes  that  a  person's  words  may  be 
quoted  exactly  and  at  the  same  time  the  spirit  be  so 
changed  as  to  render  the  statement  utterly  false.  Man- 
ner is  not  something  that  can  be  put  on  and  ofif,  but  is 
felt  to  be  an  inseparable  part  of  truth  itself. 

This  identification  and  insight,  however,  is  directly 
related  to  the  actions  of  the  mind.  Note,  for  example, 
when  Robert  of  Sicily  awakens,  how  each  sue-  ^^^ 
cessive  object  that  is  discovered  makes  a  distinct 
impression  upon  him.  We  identify  ourselves  with 
him  in  each  situation,  feel  with  him  that  it  was  impos- 
sible, "  a  dream; "  with  him,  hear  "  the  steeds  champ- 
ing in  their  stalls,"  and  last  of  all,  discover  the  "  ape," 
who  is  to  be  the  prime  minister  of  the  mock  king. 

Next  morning,  waking  with  the  day's  first  beam, 
He  said  within  himself,  "  It  was  a  dream !  " 
But  the  straw  rustled  as  he  turned  his  head. 
There  were  the  cap  and  bells  beside  his  bed. 
Around  him  rose  the  bare,  discolored  walls, 
Close  by,  the  steeds  were  champing  in  their  stalls, 
And  in  the  corner,  a  revolting  shape. 
Shivering  and  chattering  sat  the  wretched  ape. 
It  was  no  dream;  the  world  he  loved  so  much 
Had  turned  to  dust  and  ashes  at  his  touch  I 
"*  Robert  of  Sicily."  LONGFELLOW. 

THE   ROSE   AND   THE   GARDENER. 

The  Rose  in  the  garden  slipped  her  bud, 

And  she  laughed  in  the  pride  of  her  youthful  blood 

As  she  thought  of  the  Gardener  standing  by  — 

**  He  is  old  —  so  old ;  and  he  soon  will  die !  " 

The  full  Rose  waxed  in  the  warm  June  air, 

And  she  spread  and  spread,  till  her  heart  lay  bare, 

And  she  laughed  once  more  as  she  heard  his  tread, 

*'  He  is  older  now.     He  soon  will  be  dead !  " 

But  the  breeze  in  the  morning,  blew,  and  found 

That  the  leaves  of  the  blown  Rose  strewed  the  ground; 

And  he  came  at  noon,  that  Gardener  old, 

And  he  raked  them  softly  under  the  mould. 

And  I  wove  the  thing  to  a  random  rhyme, 

For  the  Rose  is  Beauty:  the  Gardener,  Time. 

AUSTIN   DOBSON 


342  FOUNDATIONS    OF    EXPRESSION 

Thus  we  see  that  in  expressing  thought,  describing  a 
scene,  relating  a  sequence  of  events,  or  quoting  from 
others,  a  universal  instinct  leads  one  to  identify  himself 
with  the  situation  or  character  and  to  express  each 
successive  idea,  as  happening  on  the  instant,  with  its 
distinct  experience. 

Read  the  following  poem  or  monologue  from  Dobson, 
first  with  simple  intellectual  attention ;  then  after  care- 
ful study,  meditation,  and  deep  thought,  give  it  ... 
with  a  sympathetic  realization  of  each  event  and 
of  the  whole  story.  Note  that  in  the  first  instance  the 
mind  is  more  or  less  neutral  or  negative,  and  the  ex- 
pression correspondingly  monotonous;  in  the  second, 
imagination  and  sympathy  cause  the  reader  to  become 
so  identified  with  the  situation  as  to  produce  extreme 
variations  in  the  expression. 

BEFORE   SEDAN. 

"  The  dead  hand  clasped  a  letter." 

Here,  in  this  leafy  place,  quiet  he  lies,  cold,  with  his  sightless 
face  turned  to  the  skies ;  'tis  but  another  dead ;  all  you  can  say  is 
said.  Carry  his  body  hence,  —  kings  must  have  slaves;  kings 
climb  to  eminence  over  men's  graves:  so  this  man's  eye  is  dim; 
throw  the  earth  over  him.  What  was  the  white  you  touched, 
there,  at  his  side?  Paper  his  hand  had  clutched  tight  ere  he 
died;  —  message  or  wish,  may  be;  —  smooth  the  folds  out  and 
see.  Hardly  the  worst  of  us  here  could  have  smiled!  —  only 
the  tremulous  words  of  a  child;  —  prattle,  that  has  for  stops 
just  a  few  ruddy  drops.  Look.  She  is  sad  to  miss,  morning 
and  night,  his — her  dead  father's  —  kiss;  tries  to  be  bright, 
good  tr  mamma,  and  sweet.  That  is  all.  "  Marguerite."  Ah, 
if  beside  the  dead  slumbered  the  pain!  Ah,  if  the  hearts  that 
bled  slept  with  the  slain  1  If  the  grief  died;  —  but  no;  —  death 
will  not  have  it  so. 

AUSTIN    DOBSON 

After  the  battle  of  Sedan,  laborers  and  farmers  are 
searching  for  those  mortally  wounded  who  have 
crawled  away  among  the  trees  and  bushes  searching  for 
shade  or  water,  and  who  have  died  alone  and  neglected, 
their  bodies  having   been   overlooked  in   the   regular 


ASSIMILATION    AND    SYMPATHY  243 

burial  of  the  dead.  The  poem  opens  with  the  discovery 
of  such  a  one,  and  in  a  true  rendering  there  is  reaUza- 
tion  of  the  spirit  of  the  searcher.  In  the  first  sentence 
he  discovers  the  body,  and  in  the  second  he  expresses 
the  feeling  of  the  common  heart.  In  the  third,  he  dis- 
covers something  white,  which  he  later  finds  to  be  a 
paper,  and  says  tenderly  that  it  may  be  some  "  message 
or  wish."  Then  comes  the  discovery  that  the  paper  is 
a  letter  from  the  dead  man's  little  girl.  The  words  of 
the  letter  are  next  given.  The  word  "  father "  is 
emphasized.  In  his  last  moments  the  soldier  had  pulled 
from  his  pocket  the  letter  from  his  little  daughter. 
The  joyous  prattle  is  given  with  something  of  its  own 
spirit,  but  in  the  last  sentence  is  the  expression  of  deep 
sympathy  with  human  sorrow. 

From  this  poem  we  can  see  that  in  proportion  as 
ideas  are  seen  and  felt,  there  is  not  only  an  imagina- 
tive, but  a  sympathetic  realization  of  the  experience 
The  climax  of  all  vocal  expression  is  seen  to  be  not  the 
mere  giving  of  words,  or  ideas;  not  merely  the  relation 
of  ideas,  not  even  the  imaginative  stiuation  merely, 
but  sympathetic  identification  with  the  experience  of 
human  life. 

2.  Personation  and  Participation.  This  identi- 
fication of  the  reader  with  each  idea  and  situation  has 
many  phases.  There  is  always  a  subjective  and  usu- 
ally an  objective  element.  Note,  for  example,  in  the 
preceding  selection  that  the  reader  may  be  almost  in 
tears  although  giving  the  words  of  the  little  girl's  letter 
in  the  spirit  in  which  she  wrote  it.  This  is  usually 
called  personation  and  is  commonly  applicable  to  direct 
quotations.  Another  phase  is  the  adoption  not  only  of 
the  point  of  view  of  the  character  speaking,  but  the 
taking  of  a  right  attitude  of  mind  even  in  descriptive 
clauses.  The  reader  must  be  himself  a  sympathetic 
spectator  or  participant  in  the  scene.    The  mere  im- 


244  FOUITOATIONS   OF   EXPRESSION 

personating  of  the  feeling  and  action  of  others,  the 
reader  remaining  neutral,  makes  reading  cold  and 
artificial.  It  is  the  exaggeration  of  the  objective  phase 
or  point  of  view  of  delivery.  True  participation  con- 
sists in  sympathy  and  causes  true  feeling.  This  is 
illustrated  not  in  repeating  the  words  of  the  little  girl, 
as  she  said  them,  which  might  be  personation,  but  in 
expressing  the  feeling  of  a  sympathetic  spectator  in 
the  clause,  "  Hardly  the  worst  of  us  here  could  have 
smiled." 

THE   ERL-KING. 

Who  rides  so  late  through  a  night  so  wild? 
It  is  the  father  holding  his  child. 
How  gently,  yet  firmly  the  loving  arm 
Holds  closely  the  boy  and  keeps  him  warml 

"  My  boy,  why  hid'st  thou  thy  face  in  fear?  " 
"  O  see  you  not,  father,  the  Erl-King  near. 
The  Erl-King  with  his  crown  and  his  train?  " 
"  My  son,  it  is  only  the  mist  from  the  rain." 

"  Come,  lovely  boy,  come,  go  with  me. 
Most  beautiful  plays  I  will  play  with  thee. 
My  flowers  are  bright  with  colors  untold, 
And  my  mother  keeps  for  thee  robes  of  gold." 

"  My  father,  my  father,  and  do  you  not  hear 
What  the  Erl-King  whispers  low  in  my  ear?  " 
"  Still,  be  calm,  draw  closer  to  me,  my  own ; 
Among  the  dead  leaves  the  wind  makes  moan." 

"  Come  with  me,  my  boy,  oh  wilt  thou  not  go? 
My  daughters  are  waiting  their  sports  to  show. 
They  nightly  lead  their  bands  in  glee ; 
They  will  play  and  dance  and  sing  with  thee." 

*'  My  father,  my  father,  and  see  you  not  there 
His  daughters  glide  through  the  misty  air?  " 
"  My  child,  my  child,  I  see  it  all  plain; 
The  willows  wave  and  gleam  through  the  rain." 

"  I  love  thee ;  thy  form  has  charmed  me  so, 
And  unless  you  chose,  I  will  force  you  to  go." 
♦*  My  father,  my  father,  I  feel  him  lay  hold; 
The  Erl-KJng  has  seized  me  with  his  fingers  cold. 


ASSIMILATION    AND   SYMPATHY 


245 


The  father  groans,  like  the  wind  he  rides  wild. 
And  holding  still  closer  the  shuddering  child. 
He  reaches  his  home  in  doubt  and  in  dread; 
In  his  arms  clasped  close  the  child  was  dead. 

GOETHE. 

3.  Dramatic  Instinct.  Men  are  pretty  well  agreed 
in  applying  the  term  dramatic  instinct  to  the  universal 
himian  tendency  to  realize  each  circumstance  that  is 
mentioned  as  a  part  of  life,  and  each  idea  quoted  from 
another  as  colored  by  the  character  of  the  speaker. 

Dramatic  instinct  contains  two  elements,  —  imagi- 
native insight  into  the  relations  of  a  fact  to  human  life 
and  character,  and  sympathy,  or  the  power  to  identify 
one's  self  with  such  a  character  or  situation. 

The  dramatic  instinct  needs  cultivation.  It  is  the 
basis  of  knowledge,  enjoyment  and  success.  By  its 
aid  the  motives,  dispositions  and  experiences  of  others 
can  become  ours.  Dramatic  insight  enables  us  to 
know  our  fellows  and  to  speak  with  them.  Without  it 
every  one  would  be  alone. 

The  word  "  dramatic  "  comes  from  a  root  which 
means  to  do,  to  act.  It  is  that  instinct  which  refuses 
to  accept  statements  as  abstract  and  without  connec- 
tion, but  sees  the  hving  man  in  union  with  truth,  per- 
ceiving everything  as  a  part  of  life,  and  not  as  a  cold, 
lifeless  form. 

Expression  is  practically  always  a  manifestation  of 
life,  mental,  imaginative,  emotional  or  spiritual. 
Accordingly,  dramatic  instinct  is  a  universal  and  neces- 
sary element  in  all  expression.  It  is  characteristic  of 
every  earnest  person,  of  every  one  who  foresees  the 
consequences  of  actions;  it  is  the  basis  of  all  oratory 
and  of  all  phases  of  the  arts  of  speaking. 

Let  no  one  imagine  that  dramatic  instinct  belongs  to 
the  few  or  that  it  is  unnatural  or  accidental.  On  the 
contrary,  it  is  the  basis  of  all  real  human  power.  In 
business  transactions  if  one  does   not   appreciate  the 


346  FOUNDATIONS    OF    EXPRESSION 

point  of  view  of  others,  he  is  apt  to  fail.  The  teacher 
must  see  a  subject  as  the  student  sees  it.  No  one  can 
help  another  without  being  in  sympathy  with  his  point 
of  view.  Altruism  is  but  another  name  for  the  dra- 
matic instinct. 

The  dramatic  instinct  is  that  power  by  which  we 
make  sudden  changes  in  situation  and  feeling.  All 
abrupt  transitions  are  essentially  dramatic  in  their 
character  because  due  to  imaginative  and  sympathetic 
realization  of  situation  or  experience. 

Dramatic  instinct  in  some  form  is  present  as  a  funda- 
mental element  in  all  the  higher  forms  of  literature. 
Without  it  deep  feeling  could  not  be  expressed. 

Observe   the   dramatic   character  of  fables,   legends 
and  ballads.     Render  the  envy  and  antagonism     -„ 
of  the  woodpecker  in  contrast  with  the  sympa- 
thetic gentleness,  freedom  from  jealousy,  or  any  ignoble 
feeling  on  the  part  of  the  dove  in  the  following; 

THE   DOVE   AND   THE   WOODPECKER. 

The  dove  and  the  woodpecker  were  returning  home  from  a 
visit  to  the  peacock.  "  How  did  you  like  our  friend?  "  asked  the 
woodpecker.  "  Is  he  not  disagreeable?  His  pride,  his  awk- 
ward feet,  his  hard  voice,  are  unbearable."  **  I  did  not  notice 
these  things,"  replied  the  dove.  "  I  could  only  gaze  at  his 
beautiful  head,  his  gorgeous  colors,  and  majestic  train," 

FROM   THE   GERMAN 

WHY  THE   ROBIN'S   BREAST   IS   RED. 

The  Saviour,  bowed  beneath  his  cross,  climbed  up  the  dreary  hill. 
And  from  the  agonizing  wreath  ran  many  a  crimson  riU ; 
The  cruel  Roman  thrust  him  on  with  unrelenting  hand. 
Till,  staggering  slowly  mid  the  crowd,  he  fell  upon  the  sand. 

A  little  bird  that  warbled  near,  that  memorable  day. 
Flitted  around  and  strove  to  wrench  one  single  thorn  away: 
The  cruel  spike  impaled  his  breast,  —  and  thus,  'tis  sweetly  said, 
The  Robin  has  his  silver  vest  incarnadined  with  red. 

(One  stanza  omitted.)  JAxVIES   RYDER  RANDALL. 

The  Tomb  said  to  the  Rose,  "  Tell  me,  with  all  the  tears 
Morn  sheds  o'er  thee  what  dost  thou  do,  fair  garden  pride?  " 
"With  eUl  that  drops,  day  after  day,  into  thy  yawning  depths. 


ASSIMILATION    AND    SYMPATHY 


247 


oh,  say!  what  dost  thou  do?  "  the  Rose  replied.  "Sad  Tombl 
into  a  subtle  scent  of  ambergris  and  honey,  blent,  do  1  convert 
those  dew-drops  bright !  " 

"And  I  create,  O  Rosebud  fair,  from  ev'ry  soul  that  enters 
here,  an  angel-form,  with  wings  of  light  1 " 

"The  Tomb  and  the  Rose."  VICTOR   HUGO. 

When  we  come  to  study  the  actions  of  the  dramatic 
instinct  we  find  that  it  is  altruistic  or  sympathetic. 
"  All  sympathy  is  insight,  and  insight  is  sympathy." 
It  can  realize  the  same  thought,  event,  or  situation  as 
seen  and  felt  by  different  persons.  This  power  to  see 
as  others  see  enables  one  to  secure  more  adequate 
realization  of  truth,  and  to  live  the  life  of  the  race. 
One  who  has  no  humor,  no  sympathetic  power  to 
feel  a  thing  as  others  do,  will  be  indifferent  and  cold. 
Without  this  capacity  all  literature  is  meaningless. 

What  is  meant  by  point  of  view?  In  the  last  two 
lines  of  the  extract  from  Longfellow,  p.  241,  for  exam- 
ple, we  can  either  enter  into  the  king's  feeUng  when  he 
reaUzes  his  position,  and  sustain  or  express  his  anger, 
or  keep  aloof  and  hold  our  own  attitude  of  mind,  sug- 
gesting a  certain  pity  for  him. 

An  illustration  of  changes  in  point  of  view  and  the 
many  elements  of  Dramatic  Instinct  is  found  in  the 
following  stanza  from  "  Marmion."  We  admire  ^^. 
the  sympathetic  "  Clara  "  striving  to  "  staunch 
the  gushing  wound."  Our  feeling  changes,  however, 
as  we  turn  from  her  to  the  monk,  and  still  more  as  we 
turn  to  Marmion.  We  repeat  what  he  said  with  sym- 
pathy and  intensity.  When  next  we  directly  quote 
from  the  monk  we  realize  his  rebuking  attitude  toward 
the  demon,  then  his  sympathetic  attitude  toward  Mar- 
mion, and  then  his  despair  when  he  turns  and  speaks 
to  himself.  Here  we  have  three  changes  in  the  attitude 
of  the  monk.  There  is  a  great  transition  as  we  turn 
to  the  war,  enter  with  intensity  into  Marmion's  excite- 
ment and  give  his  words  with  his  feeling.    Then  the 


248  FOUNDATIONS    OF    EXPRESSION 

most  extreme  difference  or  transition  is  made  with  the 
last  clause,  for  our  feeling  suddenly  changes  as  he 
drops  back  dead. 

With  fruitless  labor,  Clara  bound,  and  strove  to  staunch 
the  gushing  wound:  the  monk  with  unavailing  cares,  exhausted 
all  the  Church's  prayers.  Ever,  he  said,  that,  close  and  near, 
a  lady's  voice  was  in  his  ear,  and  that  the  priest  he  could  not 
hear ;  for  that  she  ever  sung,  "  In  the  lost  battle  borne  down 
by  the  flying,  where  mingles  war's  rattle  with  groans  of  the 
dying!  "  So  the  notes  rung.  "  Avoid  thee.  Fiend!  with  cruel 
hand  shake  not  the  dying  sinner's  sand!  O,  look,  my  son, 
upon  yon  sign  of  the  Redeemer's  grace  divine;  O,  think  on  faith, 
and  bliss !  —  By  many  a  death-bed  I  have  been,  and  many  a 
sinner's  parting  seen,  but  never  aught  like  this."  The  war, 
that  for  a  space  did  fail,  now  trebly  thundering  swelled  the  gale, 
and  —  Stanley !  was  the  cry,  —  a  light  on  Marmion's  visage 
spread,  and  fired  his  glazing  eye:  with  dying  hand,  above  his 
head,  he  shook  the  fragment  of  his  blade,  and  shouted,  "  Victory  1 
—  charge,  Chester,  charge !  On,  Stanley,  on !  '*  were  the  last 
words  of  Marmion. 

SCOTT. 

In  quoting  the  words  of  another  we  identify  our- 
selves with  him,  and  the  way  in  which  the  words  are 
spoken  is  a  reflection  of  his  manner,  or  an  expression  of 
his  character.  This  has  usually  been  regarded  as  the 
sole  province  of  dramatic  instinct. 

There  are  often,  however,  mere  narrative  or  descrip- 
tive clauses  in  which  there  is  an  even  more  profound 
revelation  of  the  sympathetic  instinct.  Such  words 
are  at  times  given  with  the  feeUng  and  spirit  of  the 
quotation  that  follows  or  precedes  them,  as  a  kind  of 
indirect  quotation;  but  more  frequently  the  experience 
expressed  in  such  clauses  is  that  awakened  in  the 
speaker  who  becomes  a  sympathetic  spectator  or  a 
participant  in  the  scene.  Observe  that  this  is  the  case 
in  the  last  clause  of  the  preceding. 

In  the  story  of  Elisha's  condemnation  of  Gehazi  we 
give  the  words  of  Elisha  with  genuine  realization  of 
the  meaning  of  his  intense  denimciation,  but  the   ..q_ 
following  line  contains  the  deepest  feeling  of  the 


ASSIMILATION    AND    SYMPATHY  249 

reader,  a  certain  awe  at  the  calamity.  If  this  is  given 
in  a  neutral  manner  the  whole  story  loses  its  force. 
Dramatic  participation,  or  the  realization  of  the  effect, 
implies  more  intense  feeling  than  even  Elisha's  own 
words  convey.  Such  descriptive  clauses  are  more  than 
dramatic;  they  are  epic. 

"  The  leprosy  of  Naaman  shall  cleave  unto  thee  and  unto 
thy  seed  forever."  And  he  went  out  from  his  presence  a  leper 
white  as  snow. 

Many  readers  consider  dramatic  instinct  entirely  as 
a  matter  of  impersonation.  In  dignified  narrative, 
however,  we  find  that  descriptive  clauses  often  have 
much  more  intense  feeling.  In  the  interpretation  of 
serious  stories  the  reader  must  not  only  identify  himself 
with  the  character  but  he  must  be  himself,  and  express 
his  own  point  of  view  as  a  sympathetic  participant  in 
the  scene. 

Many  times  this  identification  of  the  reader  with 
the  scene  is  the  identification  also  of  himself  with  his 
race.  He  gives  the  point  of  view  of  his  race  in  express- 
ing the  impression  which  an  event  makes  upon  him; 
as,  for  example,  in  the  following  Unes: 

"  Make  way  for  Liberty !  "  he  cried ; 
Made  way  for  Liberty  and  died  I 

"  Arnold  Winkelried."  MONTGOMERY. 

Here  is  expressed  the  resolution,  the  courage,  the 
patriotic  fervor  of  Arnold  Winkelried,  as  he  gave  his 
life  for  his  country,  and  his  exhortation  to  his  com- 
panions, but  in  the  next  clause  the  reader  gives  the 
tribute  of  the  race  to  his  courage  and  nobility.  A 
reader  who  gives  the  quoted  parts  greater  intensity 
and  slights  the  second  clause  will  fail  entirely  to  express 
its  true  spirit. 

If  the  instinct  concerned  with  the  identification  of 
ourselves  with  the  character  of  others  is  dramatic 
instinct,  and  the  only  aspect  of  dramatic  instinct  recog- 


250  FOUNDATIONS    OF    EXPRESSION 

nized,  then  this  higher,  more  important  participation 
must  be  called  epic  instinct.  It  is  of  great  importance 
in  the  interpretation  of  the  noblest  literature.  Only 
in  ignoble  passages,  narratives  without  spiritual  sig- 
nificance, does  dramatic  personation  transcend  partici- 
pation. In  proportion  to  the  sublimity  of  the  right,  no 
matter  what  may  be  its  form,  participation  transcends 
personation. 

In  endeavoring  to  realize  sympathetic  identification 
with  the  experience  of  his  fellows  or  the  ideal  spirit  of 
his  race,  the  student  should  begin  with  simple  narra- 
tive poetry  and  gradually  rise  to  a  true  appreciation  of 
the  few  masterpieces  of  dramatic  and  epic  poetry. 

In  the  following  extract  from  "  Robert  of  Sicily,"  the 
first  line,  while  not  directly  quoted,  is  given  from  King 
Robert's  point  of  view.  The  second  is  directly  .q« 
quoted,  and  demands  a  direct  and  dramatic 
identification  on  the  part  of  the  reader  with  the  char- 
acter and  experience  of  Robert.  The  third,  leading  up 
to  a  direct  quotation,  contains  the  point  of  view  of  the 
sexton,  as  does  also  the  following  sentence.  We  dis- 
cover with  him  the  hatless,  cloakless  king  rushing 
through  the  doorway,  and  share  his  surprise. 

Half  choked  with  rage,  King  Robert  fiercely  said, 
"  Open  :  'tis  I,  the  King  I  Art  thou  afraid?" 
The  frightened  sexton,  muttering,  with  a  ciurse, 
"This  is  some  drunken  vagabond,  or  worse !  " 
Turned  the  great  key  and  flung  the  portal  wide; 
A  man  rushed  by  him  at  a  single  stride. 

Here  we  have  direct  and  indirect  quotations,  form- 
ing what  may  be  called  Personation,  direct  and  indirect. 

Later,  in  the  same  poem  we  share  Robert's  excite- 
ment, and  with  him  rush  up  the  stairs  as  we  realize 
his  impetuous  character,  but  when  the  new  king  is 
discovered  we  gradually  drop  Robert's  point  of  view 
and  feel  our  own  surprise  as  a  spectator  or  sympathetic 
participant  in  the  scene.    This  phase  of  assimilation 


ASSIMILATION   AIH)    SYMPATHY  25 1 

is  a  type  of  epic  poetry,  if  indeed,  it  is  not  the  soul  of  it. 
In  rendering,  "  it  was  an  angel,"  a  certain  dignified 
recognition  is  demanded  of  the  divine  interposition  and 
punishment  of  Robert.  The  story  is  explained  by  this. 
It  is  not  personation;  it  is  participation,  and  poetry  of 
a  higher  type  even  than  direct  quotation.  One  who 
did  not  rise  to  the  dignity  of  his  own  realization  of  the 
meaning  of  the  scene  would  fail  to  render  the  dignity 
of  the  passage. 

Study  the  whole,  and  distinguish  all  the  changes  in 
situation,  point  of  view,  attitude  of  mind  and  feeling^ 
and  render  them  as  truthfully  as  possible. 

KING    ROBERT    OF    SICILY. 

Robert  of  Sicily,  brother  of  Pope  Urbane,  and  Valmond,  Em- 
peror of  Allemaine,  apparelled  in  magnificent  attire,  with  reti- 
nue of  many  a  knight  and  squire,  on  St.  John's  Eve,  at  vespers, 
proudly  sat  and  heard  the  priests  chant  the  Magnificat.  And  as 
he  listened,  o'er  and  o'er  again  repeated,  like  a  burden  or  refrain, 
he  caught  the  words,  "  Deposuit  potentes  de  sede,  et  exaltavit 
humiles;  "  and  slowly  lifting  up  his  kingly  head,  he  to  a  learned 
clerk  bes'de  him  said,  "  What  mean  these  words?"  The  clerk 
made  answer  meet,  "  He  has  put  down  the  mighty  from  their 
seat,  and  has  exalted  them  of  low  degree." 

Thereat  King  Robert  muttered  scornfully,  "  'Tis  well  that 
such  seditious  words  are  sung  only  by  priests  and  in  the  Latin 
tongue;  for  unto  priests  and  people  be  it  known,  there  is 
no  power  can  push  me  from  my  throne !  "  And  leaning  back, 
he  yawned  and  fell  asleep,  lulled  by  the  chant,  monotonous  and 
deep. 

When  he  awoke,  it  was  already  night;  the  church  was  empty, 
and  there  was  no  light,  save  where  the  lamps,  that  glimmered 
few  and  faint,  lighted  a  little  space  before  some  saint.  He 
started  from  his  seat  and  gazed  around,  but  saw  no  living  thing, 
and  heard  no  sound.  He  groped  towards  the  door,  but  it  was 
locked;  he  cried  aloud,  and  listened,  and  then  knocked,  and 
uttered  awful  threatenings  and  complaints  and  imprecations 
upon  men  and  saints.  The  sounds  re-echoed  from  the  roof  and 
walls  as  if  dead  priests  were  laughing  in  their  stalls. 

At  length  the  sexton,  hearing  from  without  the  tumult  of  the 
knocking  and  the  shout,  and  thinking  thieves  were  in  the  house 
of  prayer,  came  with  his  lantern,  asking,  "Who  is  there?" 
Half  choked  with  rage.  King  Robert  fiercely  said,  "  Open;  'tis 
I,    the    King  I     Art    thou    afraid?"     The    frightened    sexton, 


252 


FOUNDATIONS   OF   EXPRESSIOM 


muttering,  with  a  curse,  "  This  is  some  drunken  vagabond,  or 
worse !  "  turned  the  great  key  and  flung  the  portal  wide.  A 
man  rushed  by  him  at  a  single  stride,  haggard,  half-naked, 
without  hat  or  cloak,  who  neither  turned,  nor  looked  at  him, 
nor  spoke,  but  leaped  into  the  blackness  of  the  night,  and  van- 
ished like  a  spectre  from  his  sight. 

Robert  of  Sicily,  brother  of  Pope  Urbane,  and  Valmond,  Em- 
peror of  Allemaine,  despoiled  of  his  magnificent  attire,  bare- 
headed, breathless,  and  besprent  with  mire,  with  sense  of  wrong 
and  outrage  desperate,  strode  on  and  thundered  ..t  the  palace 
gate ;  rushed  through  the  courtyard,  thrusting  in  his  rage  to  right 
and  left  each  seneschal  and  page,  and  hurried  up  the  broad  and 
sounding  stair,  his  white  face  ghastly  in  the  torches'  glare. 
From  hall  to  hall  he  passed  with  breathless  speed;  voices  and 
cries  he  heard,  but  did  not  heed,  until  at  last  he  reached  the 
banquet-room,  blazing  with  light,  and  breathing  with  perfume. 
There  on  the  dais  sat  another  king,  wearing  his  robes,  his  crown, 
his  signet-ring.  King  Robert's  self  in  featiures,  form,  and  height, 
bi'.t  all  transfigured  with  angelic  light !  It  was  an  angel ;  and  his 
presence  there  with  a  divine  effulgence  filled  the  air,  —  an 
exaltation  piercing  the  disguise,  though  none  the  hidden  angel 
recognize. 

A  moment  speechless,  motionless,  amazed,  the  throneless 
monarch  on  the  angel  gazed,  who  met  his  looks  of  anger  and 
surprise  with  the  divine  compassion  of  his  eyes ;  then  said,  **  Who 
art  thou?  and  why  com'st  thou  here?  "  To  which  King  Robert 
answered,  with  a  sneer,  "  I  am  the  king,  and  come  to  claim  my 
own  from  an  imposter,  who  usurps  my  throne !  "  And  suddenly, 
at  these  audacious  words,  up  sprang  the  angry  guests,  and  drew 
their  swords.  The  angel  answered,  with  unruffled  brow,  "  Nay, 
not  the  king,  but  the  king's  jester ;  thou  henceforth  shalt  wear  the 
bells  and  scalloped  cape,  and  for  thy  counsellor  shalt  lead  an 
ape ;  thou  shalt  obey  my  servants  when  they  call,  and  wait  upon 
my  henchmen  in  the  hall." 

Deaf  to  King  Robert's  threats  and  cries  and  prayers,  they 
thrust  him  from  the  hall  and  down  the  stairs.  A  group  of 
tittering  pages  ran  before,  and  as  they  opened  wide  the  folding- 
door,  his  heart  failed,  for  he  heard  with  strange  alarms  the 
boisterous  laughter  of  the  men-at-arms,  and  all  the  vaulted 
chamber  roar  and  ring  with  the  mock  plaudits  of  "  Long  live 
the  king ! " 

Next  morning,  waking  with  the  day's  first  beam,  he  said  within 
himself,  "  It  was  a  dream  1  "  But  the  straw  rustled  as  he  turned 
bis  head;  there  were  the  cap  and  bells  beside  his  bed;  around 
him  rose  the  bare,  discolored  walls;  close  by,  the  steeds  were 
champing  in  their  stalls;  and  in  the  corner,  a  revolting  shape, 
shivering  and  chattering  sat  the  wretched  ape.  It  was  no 
dream;  the  world  he  loved  so  much  had  turned  to  dust  and 
ashes  at  his  touch  } 


ASSIMILATION    AND    SYMPATHY 


253 


Days  came  and  went;  and  now  returned  again  to  Sicily  the 
old  Satumian  reign;  under  the  Angel's  governance  benign 
the  happy  island  danced  with  corn  and  wine,  and  deep  within 
the  mountain's  burning  breast  Enceladus,  the  giant,  was  at  rest. 
Meanwhile  King  Robert  yielded  to  his  fate,  sullen  and  silent 
and  disconsolate.  Dressed  in  the  motley  garb  that  jesters  wear, 
with  looks  bewildered  and  a  vacant  stare,  close  shaven  above 
the  ears,  as  monks  are  shorn;  by  courtiers  mocked,  by  pages 
laughed  to  scorn;  his  only  friend  the  ape,  his  only  food  what 
others  left  —  he  still  was  unsubdued.  And  when  the  Angel 
met  him  on  his  way,  and  half  in  earnest,  half  in  jest,  would  say, 
sternly,  though  tenderly,  that  he  might  feel  the  velvet  scabbard 
held  a  sword  of  steel,  "Art  thou  the  king?  "  the  passion  of  his 
woe  burst  from  him  in  resistless  overflow,  and  lifting  high  his 
forehead,  he  would  fling  the  haughty  answer  back,  "  I  am, 
I  am   the  king." 

Almost  three  years  were  ended;  when  there  came  ambassa- 
dors of  great  repute  and  name  from  Valmond,  Emperor  of 
Allemaine,  unto  King  Robert,  saying  that  Pope  Urbane  by 
letter  summoned  them  forthwith  to  come  on  Holy  Thursday  to 
his  city  of  Rome.  The  Angel  with  great  joy  received  his  guests, 
and  gave  them  presents  of  embroidered  vests,  and  velvet  mantles 
with  rich  ermine  lined,  and  rings  and  jewels  of  the  rarest  kind. 
Then  he  departed  with  them  o'er  the  sea  into  the  lovely  land  of 
Italy,  whose  loveliness  was  more  resplendent  made  by  the  mere 
passing  of  that  cavalcade,  with  plumes,  and  cloaks  and  housings, 
and  the  stir  of  jewelled  bridle  and  of  golden  spur.  And  lo !  among 
the  menials  in  mock  state,  upon  a  piebald  steed,  with  shambling 
gait,  his  coat  of  fox-tails  flapping  in  the  wind,  the  solemn  ape 
demurely  perched  behind,  King  Robert  rode,  making  huge  mer- 
riment in  all  the  country  towns  through  which  they  went. 

The  Pope  received  them  with  great  pomp  and  blare  of  bannered 
trumpets,  on  St.  Peter's  Square,  giving  his  benediction  and 
embrace,  fervent,  and  full  of  apostolic  grace.  While  with  con- 
gratulations and  with  prayers  he  entertained  the  Angel  una- 
wares, Robert  the  Jester,  bursting  through  the  crowd,  into  their 
presence  rushed,  and  cried  aloud,  "  I  am  the  king!  Look,  and 
behold  in  me  Robert,  your  brother,  king  of  Sicily  1  This  man, 
who  wears  my  semblance  to  your  eyes,  is  an  impostor  in  a  king's 
disguise.  Do  you  not  know  me?  does  no  voice  within  answer 
my  cry,  and  say  we  are  akin?  "  The  Pope  in  silence,  but  with 
troubled  mien,  gazed  at  the  Angel's  countenance  serene;  the 
Emperor,  laughing,  said,  "  It  is  strange  sport  to  keep  a  mad- 
man for  thy  fool  at  coiu-t !  "  And  the  poor  baffled  Jester  in 
disgrace  was  hustled  back  among  the  populace. 

In  solemn  state  the  Holy  Week  went  by,  and  Easter  Sunday 
gleamed  upon  the  sky;  the  presence  of  the  Angel  with  its  light, 
before  the  sun  rose,  made  the  city  bright,  and  with  new  fervour 
filled  the  hearts  of  men,  who  felt  that  Christ  indeed  had  risen 


254  FOUNDATIONS    OF    EXPRESSION 

again.  Even  the  Jester,  on  his  bed  of  straw,  with  haggard  eyes 
the  unwonted  splendour  saw;  he  felt  within  a  power  unfelt 
before,  and,  kneeling  humbly  on  his  chamber  floor,  he  heard  the 
rushing  garments  of  the  Lord  sweep  through  the  silent  air, 
ascending  heavenward. 

And  now  the  visit  ending,  and  once  more  Valmond  returning 
to  the  Danube's  shore,  homeward  the  Angel  journeyed,  and 
again  the  land  was  made  resplendent  with  his  train,  flashing 
along  the  towns  of  Italy  unto  Salerno,  and  from  there  by  sea. 
And  when  once  more  within  Palermo's  wall,  and,  seated  on 
the  throne  in  his  great  hall,  he  heard  the  Angelus  from  convent 
towers,  as  if  the  better  world  conversed  with  oiurs,  he  beckoned 
to  King  Robert  to  draw  nigher,  and  with  a  gesture  bade  the 
rest  retire;  and  when  they  were  alone,  the  Angel  said,  "Art 
thou  the  king  ?  "  Then,  bowing  down  his  head,  King  Robert 
crossed  both  hands  upon  his  breast,  and  meekly  answered  him: 
"  Thou  knowest  best !  My  sins  as  scarlet  are ;  let  me  go  hence, 
and  in  some  cloister's  school  of  penitence,  across  those  stones, 
that  pave  the  way  to  heaven,  walk  barefoot  till  my  guilty  soul 
is  shriven!  '• 

The  Angel  smiled,  and  from  his  radiant  face  a  holy  light 
illumined  all  the  place,  and  through  the  open  window,  loud  and 
clear,  they  heard  the  monks  chant  in  the  chapel  near,  above  the 
stir  and  tumult  of  the  street:  "  He  has  put  down  the  mighty 
from  their  seat,  and  has  exalted  them  of  low  degree !  "  And 
through  the  chant  a  second  melody  rose  like  the  throbbing  of  a 
single  string:  "  I  am  an  Angel,  and  thou  art  the  King!  " 

King  Robert,  who  was  standing  near  the  throne,  lifted  his 
eyes,  and  lo !  he  was  alone  !  But  all  apparelled  as  in  days  of  old, 
with  ermined  mantle  and  with  cloth  of  gold;  and  when  his 
courtiers  came  they  found  him  there,  kneeling  upon  the  floor, 
absorbed  in  silent  prayer. 

LONGFELLOW 

THE   PATRIOT. 

An  Old  Story. 

It  was  roses,  roses,  all  the  way. 

With  myrtle  mixed  in  my  path  like  mad: 

The  house-roofs  seemed  to  heave  and  sway, 
The  church-spires  flamed,  such  flags  they  had, 

A  year  ago  on  this  very  day. 

The  air  broke  into  a  mist  with  bells, 

The  old  walls  rocked  with  the  crowd  and  cries. 

Had  I  said,  "  Good  folk,  mere  noise  repels  — 
But  give  me  your  sun  from  yonder  skies  I  " 

They  had  answered,  "  And  afterward,  what  else?  ** 


ASSIMILATION    AND    SYMPATHY  2^% 

Alack,  it  was  I  who  leaped  at  the  sun 

To  give  it  my  loving  friends  to  keep  I 
Naught  man  could  do,  have  I  left  undone: 

And  you  see  my  harvest,  what  I  reap 
This  very  day,  now  a  year  is  run. 

There's  nobody  on  the  house-tops  now  — 

Just  a  palsied  few  at  the  windows  set; 
For  the  best  of  the  sight  is,  all  allow, 

At  the  Shamble's  Gate  —  or,  better  yet, 
By  the  very  scaffold's  foot,  I  trow. 

I  go  in  the  rain,  and,  more  than  needs, 

A  rope  cuts  both  my  wrists  behind; 
And  I  think,  by  the  feel,  my  forehead  bleeds, 

For  they  fling,  whoever  has  a  mind. 
Stones  at  me  for  my  year's  misdeeds. 

Thus  I  entered,  and  thus  I  go ! 

In  triumphs,  people  have  dropped  down  dead. 
"  Paid  by  the  world,  what  dost  thou  owe 

Me?  "  —  God  might  question;  now  instead, 
'Tis  God  shall  repay :  I  am  safer  so. 

BROWNING. 

Tell  a  story  with  a  variety  of  quotations;  and  ir 
the  quotations  realize  sympathetically  not  only  the  ..  q_ 
thought  and  meaning  but  the  character  of  the 
speaker. 

KEENAN'S    CHARGE. 

The  sun  had  set;  the  leaves  with  dew  were  wet;  down  fell  a 
bloody  dusk  on  the  woods  that  second  of  May,  where  Stone- 
wall's corps,  like  a  beast  of  prey,  tore  through  with  angry  tusk. 
"  They  have  trapped  us,  boys  1  "  rose  from  our  flank  a  voice. 
With  a  rush  of  steel  and  smoke,  on  came  the  thousands  straight, 
eager  as  love  and  wild  as  hate;  and  our  line  reeled  and  broke* 
broke  and  fled ;  no  one  stayed  —  but  the  dead !  With  curses, 
shrieks,  and  cries,  horses,  wagons,  and  men  tumbled  back 
through  the  shuddering  glen,  and  above  us  the  fading  skies. 

There's  one  hope  still,  —  those  batteries  parked  on  the  hill  I 
"  Battery  wheel  [  'mid  the  roar]  I  Pass  pieces ;  fix  prolonge  to 
fire  retiring.  Trotl  "  In  the  panic  dire  a  bugle  rings  •'  Trot!  *' 
—  and  no  more.  The  horses  plunged,  the  cannon  lurched  and 
lunged,  to  join  the  hopeless  rout.  But  suddenly  rode  a  form 
calmly  in  front  of  the  human  storm,  with  a  stern,  commanding 
shout,  "Align  those  guns."  [We  knew  it  was  Pleasonton'sJI 


250 


FOUNDATIONS    OF    EXPRESSION 


The  caxmoneers  bent  to  obey,  and  worked  with  a  will,  at  his 
word ;  and  the  black  guns  moved  as  if  they  had  heard.  But,  ah, 
the  dread  delay  1  "  To  wait  is  crime;  O  God,  for  ten  minutes' 
time  I  "  The  general  looked  around ;  there  Keenan  sat,  like  a 
stone,  with  his  three  hundred  horse  alone,  —  less  shaken  than 
the  ground.  "  Major,  your  men?  "  —  "  Are  soldiers.  General," 
"Then,  charge.  Major!  Do  your  best:  hold  the  enemy  back 
at  all  cost,  till  my  guns  are  placed,  —  else  the  army  is  lost. 
You  die  to  save  the  rest !  " 

By  the  shrouded  gleam  of  the  Western  skies,  brave  Keenan 
looked  in  Pleasonton's  eyes  for  an  instant,  —  clear  and  calm, 
and  still;  then,  with  a  smile,  he  said:  "I  will."  "Cavalry 
charge !  "  not  a  man  of  them  shrank.  Their  sharp,  full  cheer, 
from  rank  on  rank,  rose  joyously,  with  a  willing  breath,  ■ — 
rose  like  a  greeting  hail  to  death.  Then  forward  they  sprang, 
and  spurred  and  clashed;  shouted  the  officers,  crimson-sashed; 
rode  well  the  men,  each  brave  as  his  fellow,  in  their  faded  coats 
of  blue  and  yellow;  and  above  in  the  air,  with  an  instinct  true, 
like  a  bird  of  war  their  pennon  flew.  With  clanks  of  scabbards 
and  thunder  of  steeds,  and  blades  that  shine  like  sun-lit  reeds, 
and  strong,  brown  faces  bravely  pale,  for  fear  their  proud 
attempt  shall  fail,  three  hundred  Pennsylvanians  close  on  twice 
ten  thousand  gallant  foes. 

Line  after  line  the  troopers  came  to  the  edge  of  the  woods  that 
was  ring'd  with  flame,  —  rode  in  and  sabred  and  shot,  and  fell; 
nor  came  one  back  his  wounds  to  tell.  And  full  in  the  midst 
rose  Keenan,  tall  in  the  gloom,  like  a  martyr  —  awaiting  his 
fall,  while  the  circle-stroke  of  his  sabre,  swung  'round  his  head, 
like  a  halo  there  luminous  hung.  Line  after  line  —  ay,  whole 
platoons,  struck  dead  in  their  saddles  —  of  brave  dragoons  by  the 
maddened  horses  were  onward  borne  and  into  the  vortex  flung, 
trampled  and  torn ;  as  Keenan  fought  with  his  men  side  by  side. 
So  they  rode,  till  there  were  no  more  to  ride.  But  over  them, 
lying  there,  shattered  and  mute,  what  deep  echo  rolls?  —  'Tis 
a  death  salute  from  the  caimon  in  place ;  for,  heroes,  you  braved 
your  fate  not  in  vain:  the  army  was  saved! 

Over  them  now  —  year  following  year  —  over  their  graves 
the  pine-cones  fall,  and  the  whip-poor-will  chants  his  spectre 
call;  but  they  stir  not  again,  they  raise  no  cheer,  they  have 
ceased.  But  their  glory  shall  never  cease,  nor  their  light  be 
quenched  in  the  light  )f  peace;  for  the  rush  of  their  charge  is 
resounding  still  that  saved  the  army  at  Chancellorsville. 

GEORGE  PARSONS  LATHROP 

Speak    negatively    and    neutrally    upon    a    subject, 
and  then  with  the  greatest  sympathetic   identi-  ^gg 
fication  with  the  situation. 


ASSIMILATION    AND    SYMPATHY  257 

Render  the  following  first  by  imitation  and  then  by 
assimilation,  and  observe  the  fact  that  assimilation  is 
more  genuine  and  sympathetic ;  that  it  obeys  the  law 
from  within  outward,  is  more  truly  dramatic,  and 
expresses  better  the  character  of  the  ideas. 

O  how  our  organ  can  speak  with  its  many  and  wonderful  voices  I  — 
Play  on  the  soft  lute  of  love,  blow  the  loud  trumpet  of  war, 
Sing  with  the  high  sesquialtro,  or,  drawing  its  full  diapason, 
Shake  all  the  air  with  the  g^and  storm  of  its  pedals  and  stops. 

STORY. 

Words  are  instruments  of  music:  an  ignorant  man  uses  them 
for  jargon;  but  when  a  master  touches  them  they  have  unex- 
pected life  and  soul.  Some  words  sound  out  like  drums ;  some 
breathe  memories  sweet  as  flutes;  some  call  like  a  clarioijet; 
some  shout  a  charge  like  trumpets ;  some  are  sweet  as  children's 
talk;  others  rich  as  a  mother's  answering  back. 

NOT  KNOWN. 

Give  some  sentence  or  a  speech,  first   as    the  expres- 
sion of  one  type  of  character,  and  then  as  that   ^.^ 
of  another;  lastly,  as  your  own  deep  conviction. 

He  only  is  rich  who  owns  the  day. 

4.  Purposes.  One  of  the  most  important  phases  of 
assimilation  is  the  right  command  of  purpose.  Oratory 
is  almost  the  only  art  which  has  a  direct  conscious  pur- 
pose. Speakers  must  carefully  study  the  vocal  expres- 
sion of  purposes  and  observe  the  fact  that  they  are 
constantly  varying. 

A  purpose  implies  such  an  assimilation  of  a  truth  in 
relation  to  a  hearer  that  the  speaker  appreciates  the 
true  aim  and  method  of  expressing  it.  Purpose  depends 
upon  awakening  the  same  faculties  in  the  hearer  which 
are  active  in  the  speaker.  The  mastery  of  purpose, 
accordingly,  requires  sympathy  and  dramatic  instinct 
and  versatiUty  of  mind,  or  power  to  change  the  point  of 
view  and  to  make  use  of  such  modes  of  expression  as 
will  give  the  right  impression  of  the  truth. 


258  FOUNDATIONS    OF    EXPRESSION 

Monotony  of  purpose  is  one  of  the  worst  and  most 
common  faults  among  speakers.  Some  speakers  never 
do  anything  but  teach;  some  unconsciously  express  an 
attitude  of  indifference  or  speak  without  purpose; 
others  always  speak  with  a  kind  of  emotional  entreaty, 
which  is  not  true  persuasion;  others  by  direct  com- 
mand, which  is  not  a  true  oratorical  purpose,  endeavor 
to  dominate  an  audience. 

These  faults  are  all  due  to  lack  of  true  assimilation. 
Many  are  too  apt  to  think  of  dramatic  instinct  as  be- 
longing to  the  stage  and  overlook  the  fact  that  one  of 
its  most  important  phases  is  insight  into  the  purpose 
of  a  given  speech. 

Give  a  short  sentence,  or  lines  from  different  poems, 
many  ways  with   a  great    variety   of  purposes,   „^^ 
and    distinguish    each  one    by  change  of   voice 
Teach,  command,  persuade,  interest,  rebuke  or  move. 

Come  home.     Follow  me.     Will  you  let  him  go? 

Daily,  with  souls  that  cringe  and  plot, 
We  Sinais  climb,  and  know  it  not. 

"  Vision  of  Sir  Launfal."  LOWELL. 

To  reach  the  highest  art,  we  must  forget  art  and  aim  beyond  it. 

Present  the  thought  of  the  first  of  the  following  and 
endeavor  to  cause  others  to  think.     In  the  next, 
endeavor  to   arouse  or  awaken  men.      Express 
the  third  in  such  a  way  as  to  appeal  to  the  spiritual 
nature. 

Some  people  will  never  learn  anything,  because  they  under- 
stand everything  too  soon. 

Our  brethren  are  already  in  the  field  1  Why  stand  we  here 
idle?  V/hat  is  it  that  gentlemen  wish?  what  v/ould  they  have? 
Is  life  so  dear,  or  peace  so  sweet,  as  to  be  purchased  at  the  price 
of  chains  and  slavery?  Forbid  it.  Almighty  God,  I  know  not 
what  course  others  may  f^3ifi6  but,  as  for  me,  give  me  liberty, 
or  give  me  death  I 

PATRICK  HENRY. 


ASSIMILATION   AND    SYMPATHY 

Be  noble!  and  the  nobleness  that  lies 
In  other  men,  sleeping,  but  never  dead, 
Will  rise  in  majesty  to  meet  thine  own. 

HENRY   V.   AT   HARFLEUR. 


259 


LOWELL. 


Once  more  unto  the  breach,  dear  friends^  once  more; 
Or  close  the  wall  up  with  our  English  dead ! 
In  peace,  there's  nothing  so  becomes  a  man, 
As  modest  stillness  and  humility: 
But  when  the  blast  of  war  blows  in  our  ears, 
Then  imitate  the  action  of  the  tiger ; 
Stiffen  the  sinews,  summon  up  the  blood, 
Disguise  fair  nature  with  hard  favor'd  rage,  .  .  . 
Now  set  the  teeth,  and  stretch  the  nostril  wide; 
Hold  hard  the  breath,  and  bend  up  every  spirit 
To  his  full  height.  —  On,  on,  you  noblest  English 
Whose  blood  is  fet  from  fathers  of  war-proof. 
Fathers,  that,  like  so  many  Alexanders, 
Have,  in  these  parts,  from  morn  till  even  fought, 
And  sheathed  their  swords  for  lack  of  argument.  .  .  » 
I  see  you  stand  like  greyhounds  in  the  slips. 
Straining  upon  the  start     The  game's  afoot; 
Follow  your  spirit:  and,  upon  this  charge, 
Cry  —  God  for  Harry !  England  I  and  Saint  George ! 
Henry  V.    Actiii.    Scene  i.  SHAKESPEARE. 

Give  the  third  of  the  above  or  the  following,  first  in 
a  way  to  instruct,  secondly,  in  a  way  to  rouse,  and 
thirdly  in  a  way  to  persuade.     Give  also  Portia's  „_„ 
speech  on  mercy  (p.  108)  in   these  three  ways. 
What  purpose  is  most  appropriate  in  each  case  and 
why?     How  does  the  voice  show  the  differences? 

Be  patient!  oh,  be  patient!  though  yet  our  hopes  are  green, 
The  harvest-fields  of  freedom  shall  be  crowned  with  sunny  sheen. 

LINTON 

Build  thee  more  stately  mansions,  O  my  soul,  as  the  swift 
seasons  roUl  Leave  thy  low-vaulted  past!  Let  each  new 
temple,  nobler  than  the  last,  shut  thee  from  heaven  with  a  dome 
more  vast,  till  thou  at  length  art  free,  leaving  thine  outgrown 
shell  by  life's  imresting  sea  1 

HOLMES. 

The  man  who  leads  the  flock  must  fight  the  wolf. 

BEECHER. 

Assimilation  is  the  degree  of  completeness  in  the 
reaUzation  of  a  truth,  situation,  event  or  character. 


aCo  FOUNDATIONS   OF   EXPRESSION 

Sympathy  is  the  power  to  realize  a  thought  or  situ- 
ation with  its  appropriate  feeUng,  or  the  identification 
of  one  individual  with  the  point  of  view  and  spirit  of 
another. 

Personation  is  the  direct  quoting  or  giving  of 
another's  words  with  his  spirit  and  motives. 

Participation  is  the  realization  of  a  scene  from  the 
point  of  view  of  a  sympathetic  spectator. 

Dramatic  Instinct  is  the  application  of  the  sympa- 
thetic instinct  to  the  identification  of  one  character 
with  the  experience,  motives,  and  spirit  of  another. 

The  Epic  Instinct  is  the  power  to  become  the  sym- 
pathetic spectator,  and  yet  have  the  feeling  which 
would  belong  to  the  race  or  which  would  be  felt  by  a 
typical  or  ideal  man  in  any  situation. 

first  appearance  at  the  odeon. 

*•  I   am   Nicholas   Tacchinardi,  —  hunchbacked,   look   you,   and   a 

fright; 
Caliban  himself  might  never  interpose  so  foul  a  sight. 
Granted;  but  I  come  not,  masters,  to  exhibit  form  or  size. 
Gaze  not  on  my  limbs,  good  people ;  lend  your  ears  and  not  your  eyes. 
I'm  a  singer,  not  a  dancer,  —  spare  me  for  a  while  your  din ; 
Let  me  try  my  voice  to-night  here,  —  keep  your  jests  till  I  begin. 
Have  the  kindness  but  to  listen,  —  this  is  all  I  dare  to  ask. 
See,  I  stand  beside  the  footlights,  waiting  to  begin  my  task. 
If  I  fail  to  please  you,  curse  me,  —  not  before  my  voice  you  hear, 
Thrust  me  not  from  the  Odeon.     Hearken,  and  I've  naught  to  fear." 

Then  the  crowd  in  pit  and  boxes  jeered  the  dwarf,  and  mocked  his 
shape; 

Called   him  "  monster,"  "  thing   abhorrent,"  crying  "  off,  pre- 
sumptuous ape! 

Off,  unsightly,  baleful  creature !  off,  and  quit  the  insulted  stage  I 

Move  aside,  repulsive  figure,  or  deplore  our  gathering  rage." 

Bowing  low,  pale  Tacchinardi,  long  accustomed  to  such  threats. 
Bluest  into  a  grand  bravura^  showering  notes  like  diamond  jets,  — 
Sang  until  the  ringing  plaudits  through  the  wide  Odeon  rang,  — 
Sang  as  never  soaring  tenor  ere  behind  those  footlights  sang; 
And  the  himchback,  ever  after,  like  a  god  was  hailed  with  cries,  — ■ 
°*  King  of  minstrels,  live  forever  1     Shame  on  fools  who  have  but 

JAMES  T    FIELDS 


XX. 

MOVEMENT. 

How  does  this  sjonpathetic  identification  of  the 
reader  with  a  truth,  this  dramatic  insight  into  the  spirit 
of  a  scene  or  character  reveal  itself?  Assimilation 
accentuates  and  imites  all  the  modulations  of  the  voice ; 
but  one  modulation,  not  yet  discussed,  is  especially 
expressive  of  degrees  of  assimilation. 

The  rhythmic  pulsations  of  the  mind  in  thinking  cause 
not  only  pause  and  touch,  but  a  sense  of  many  modes 
of  progression,  of  superficial  excitement  or  control 
with  intensity.  The  succession  of  pulsations  suggests 
weight  and  importance,  or  lack  of  importance.  These 
are  expressed  by  what  may  be  called  Movement  or  the 
rhythmic  succession  or  pulsation  of  ideas  and  feeling 
dominating  the  voice  modulations.  There  is  a  ten- 
dency to  regard  movement  as  a  mere  matter  of  speed. 
That  it  is  not  this  can  be  seen  in  the  fact  that  a  passage 
may  be  read  slowly  and  either  express  triviaUty  or  sug- 
gest weight  according  to  the  rhythm.  It  is  not  speed 
but  degree  and  kind  of  pulsation  that  cause  the  differ- 
ence. 

For  example,  read  the  following,  first  rapidly  and 
then   very   slowly,   the   rhythm   remaining   the    same. 
Then  give  it  great  weight  by  reading   it  slowly,   _-.„ 
but  introduce  vigorous  touches  and  long  pauses 
and  observe  that  it  is  the  change  in  rhythm,  not  in 
speed,  that  causes  the  difference. 

Poetry  begins,  or  all  becomes  poetry,  when  we  look  from  the 
centre  outward-  and  are  using  all  as  if  the  mind  made  it. 

EMERSON. 

Note  the  movement  of  waves  rolling  in  upon  the 
shore.    They  may  differ  in  height,  in  distance  apart,  in 

26it 


262  FOUNDATIONS    OF    EXPRESSION 

rapidity  of  succession  and  in  shape.  In  the  same  way, 
rhythmic  pulsations  of  the  voice  may  vary.  When 
high,  they  express  intensity;  when  far  apart,  they 
express  deUberation;  when  they  succeed  each  other 
rapidly,  there  is  a  suggestion  of  excitement.  Regu- 
larity expresses  dignity;  irregularity  and  jerky  rhythm 
indicate  chaotic  excitement  or  lack  of  depth. 

CERTAINTY. 

I  never  saw  a  moor, 

I  never  saw  the  sea ; 
Yet  know  I  how  the  heather  looks, 

And  what  a  wave  must  be. 
I  never  spoke  with  God, 

Nor  visited  in  heaven; 
Yet  certain  am  I  of  the  spot 

As  if  the  chart  were  given. 

EMILY  DICKINSON. 

In  the  following  lines  from  Will  Carleton,  a  pioneer 
who  has  uttered  some  unkind  words  to  his  loving  ^04 
wife,  and  gone  forth  in  search  of  lost  cattle,  is 
represented  as  returning  home  eagerly,  desiring  earn- 
estly to  make  amends. 

Half  out  of  breath,  the  cabin  door  I  swung, 

With  tender  heart- words  trembling  on  my  tongue; 

But  all  within  look'd  desolate  and  bare ; 

My  house  had  lost  its  soul,  —  she  was  not  there. 

CARLETON 

Notice  the  movement  of  the  preceding  as  in  the  first 
and  second  lines  we  express  the  narrator's  eagerness; 
but  in  the  last  two  our  sympathy  with  his  disappoint- 
ment causes  the  rhythm  to  change,  the  pulsations  to 
become  longer,  and  the  touch  more  intense.  We  feel 
his  premonition  of  coming  sorrow. 

One  who  reads  such  a  passage  without  any  change 
in  movement  lacks  assimilation;  neither  imagination 
nor  sympathy  is  alive  to  the  experience  of  the  pioneer. 
Sympathetic  identification  with  feeUng  can  hardly  be 
naturally  expressed  in  any  other  way  than  by  change  of 


MOVEMENT  263 

movement.  The  transition  is  associated,  of  course, 
with  long  pauses  and  extreme  changes  of  pitch  and 
color;  but  that  movement  is  absolutely  essential  can 
be  shown  by  changing  all  the  other  expressive  modula- 
tions while  keeping  the  same  movement.  The  pause 
is  due  to  the  new  impression  which  must  be  realized  by 
the  reader ;  the  change  of  key  is  due  to  the  unexpected, 
extreme  character  of  his  disappointment;  change  of 
color  is  due  to  change  of  feeling;  but  change  of  move- 
ment expresses  the  fact  that  we  are  in  sympathetic 
union  with  him. 

Every  passage  has  a  movement  peculiar  to  itself. 
One  of  the  finest  illustrations  of  movement  is  Byron's 
description  of  a  thunder  storm  seen  from  Lake  „^_ 
Geneva.  In  this  fine  passage  everything  is  made 
to  live.  The  quiet  stillness  is  portrayed,  the  sound  of 
the  grasshopper  and  the  dropping  of  the  water  from 
the  suspended  oar.  In  the  very  midst  of  the  descrip- 
tion we  have  a  reference  to  the  fascination  of  the 
lightning  and  the  storm,  which  are  compared  with  the 
"  dark  eye  in  woman."  Some  critics  may  think  this 
a  blemish,  but  it  adds  intensity  and  human  feeling;  in 
fact,  it  is  one  of  the  chief  elements  of  power  in  the 
description. 

It  is  the  hush  of  night,  and  all  between 

Thy  margin  and  the  mountains,  dusk,  yet  clear, 

Mellow'd  and  mingling,  yet  distinctly  seen, 

Save  darken'd  Jura,  whose  capp'd  heights  appear 

Precipitously  steep;  and,  drawing  near. 

There  breathes  a  living  fragrance  from  the  shore, 

Of  flowers  yet  fresh  with  childhood ;  on  the  ear 

Drops  the  light  drip  of  the  suspended  oar. 

Or  chirps  the  grasshopper  one  good-night  carol  more.  .  .  . 

The  sky  is  changed !  —  and  such  a  change !     O  Night, 

And  Storm,  and  Darkness,  ye  are  wondrous  strong, 

Yet  lovely  in  your  strength,  as  is  the  light 

Of  a  dark  eye  in  woman  I     Far  along. 

From  peak  to  peak,  the  rattling  crags  among, 


264  FOUNDATIONS   OF   EXPRESSION 

Leaps  the  live  thunder !  not  from  one  lone  cloud, 
But  every  mountain  now  hath  found  a  tongue ; 
And  Jura  answers,  through  her  misty  shroud, 
Back  to  the  joyous  Alps,  who  call  to  her  aloud. 

••  Childe  Harold's  Pilgrimage."  BYRON- 

Professor  Bain  called  Coleridge's  view  of  "  Mont 
Blanc  from  the  Valley  of  Chamouni  "  still  life  in  com- 
parison with  this,  but  that  is  hardly  fair.  Coleridge's 
poem  has  a  movement  which  is  contemplative  and 
intense.  Coleridge  expresses  the  impression  produced 
by  a  great  mountain  at  sunrise,  Byron  that  of  a  storm 
in  the  night.  The  movement  of  the  tv/o  passages  indi- 
cates the  difference  in  the  spirit  of  the  two  scenes,  and 
the  impressions  they  awaken. 

Note  for  example,  in  contrast  to  Byron,  the  move- 
ment of  Coleridge's  feeling  as   he  imagines  the  ^q^ 
effect  of  the  mountain  upon  the  mind. 

Around  thee  and  above. 
Deep  is  the  air  and  dark,  substantial,  black, 
An  ebon  mass ;  methinks  thou  piercest  it. 
As  with  a  wedge  1     But  when  1  look  again. 
It  is  thine  own  calm  home,  thy  crystal  shrine, 
Thy  habitation  from  eternity. 

•' Mont  Blanc."  COLERIDGE. 

Take   again,  the   excited  movement   of    Lochinvar, 
when  he  is  supposed  to  lift  Ellen  upon  his  horse  „^_ 
and  leap  to  the  saddle  before  her. 

So  light  t(  the  croup  the  fair  lady  he  swung, 
So  light  to  the  saddle  before  her  he  spriuig. 

"  Lochinvar."  SCOTT. 

Mere  hurry  will  not  express  the  excitement ;  in  fact, 
excitement  may  be  suggested  by  quick  pulsations  even 
though  long  pauses  be  introduced.  It  is  the  rhythm, 
not  the  amount  of  time  taken  to  read  the  line  that  con- 
veys the  excitement. 

Here  we  come  to  one  of  the  most  wonderful  of  all 
the  elements  of  vocal  expression.    A  passage  of  extreme 


MOVEMEin'  2^5 

dignity  may  be  read  slowly  and  yet  suggest  super- 
ficiality, while  the  most  animated  passage  may  ^aq 
be  read  slowly  and  still  indicate  real  excitement. 
This  is  because  movement  is  not  a  matter  of  time,  but 
of  rhythm.  In  an  excited  passage  if  quick  pulsations 
are  given  in  only  a  few  phrases  to  indicate  the  char- 
acter of  the  rhythm,  long  pauses  may  then  be  intro- 
duced without  interfering  in  the  least  with  the  spirit 
of  what  is  read.  The  sense  of  rhythm  continues  during 
the  silence,  and  the  passage  may  be  rendered  with  great 
repose,  with  intensity,  even,  without  at  all  detracting 
from  the  excitement. 

Away:  as  a  hawk  flies  full  at  his  prey, 
So  flieth  the  hunter,  —  away,  away  I 

Lord  of  all  being !  throned  afar, 
Thy  glory  flames  from  sun  and  star ; 
Centre  and  soul  of  every  sphere. 
Yet  to  each  loving  heart  how  near  i 

HOLMES. 

As  has  been  indicated,  the  sublimest  lines  that  can 
be  found  may  be  rendered  very  slowly,  yet  so  as  to 
suggest  only  superficiality.  In  this,  as  in  the  other 
cases,  the  amount  of  time  is  determined  by  the  length 
and  number  of  the  pauses.  Pauses  are  expressive  only 
in  union  with  rhythmic  movement.  A  pause  accen- 
tuates movement,  but  has  no  power  to  change  it. 

Accordingly,   if  the   following  be   given  with   short 
pauses  and  a  jerky  rhythm,  suggesting  a  short   _>^q 
pendulum,  no  matter  how  much  time  is  taken  to 
render  the  passage  it  is  artificial.     But  with  long  pauses 
and  strong  touch  it  suggests  weight. 

Away !  away !  o'er  the  sheeted  ice. 

Away,  away  we  go; 
On  our  steel-bound  feet  we  move  as  fleet 

As  deer  o'er  the  Lapland  snow. 

"Skater's  Song."  (p.  8i.)  EPHRAIM  PEABODY. 

Oh  I  somewhere,  somewhere,  God  unknown  exist  and  be! 
I  am  dying;  I  am  all  alone;  I  must  have  thee. 
God !  God !  my  sense,  my  soul,  my  all,  dies  in  the  cry:  — 
Sawest  thou  the  faint  star  flame  and  fall?     Ah  1  it  was  L 

"  Lut  A  ppeai . "  M  YE  RS. 


266  FOUNDATIONS    OF    EXPRESSION 

This  point  cannot  be  emphasized  too  strongly  for  it 
is  almost  universally  misunderstood.  The  student 
must  judge  for  himself,  and  study  passages  seriously 
until  he  realizes  that  only  by  movement  can  he  express 
triviality  or  weight,  degrees  of  excitement,  or  depth  of 
meaning. 

Movement  may  be  made  clearer  by  contrast.  Take 
two  passages  as  different  in  nature  as  possible,  enter 
into  the  spirit  of  both,  and  render  them  intelUgently, 
noting  and  expressing  their  difference. 

No  one  can  fail  to  realize  the  vast  difference  in  char- 
acter between  the  two   passages  following,  and  „^^ 
the  absolute  necessity  and  naturalness  of  move- 
ment or  the  modulations  of  rhythm  necessary  to  express 
this  contrast. 

Movement  is  not  antagonistic  to  any  other  modula- 
tion of  the  voice.  In  fact,  it  will  sometimes  appear  to 
be  merely  the  union  of  pause  and  touch,  change  of 
pitch  and  inflexion,  so  basic  it  seems  and  necessary  to 
all  expression. 

Note,   however,   that   all   of  these   modulations   are 
distinct,  and  that  a  passage  can  be  rendered  accentu- 
ating first  form  and  thought,  then  tone-color  and  ^^  ^ 
emotion,   next   movement,   and   lastly  with   the 
co-ordination  of  all  these  in  unity.     Render  the  fol- 
lowing lines  in  all  of  these  ways. 

O  Thou  Eternal  One !  whose  presence  bright 
All  space  doth  occupy,  all  motion  guide ; 

Unchanged  through  time's  all-devastating  flight ; 
Thou  only  God  1    There  is  no  God  beside. 

"God."  DERZHAVIN. 

Emphasize,  in  the  first  place,  pause  and  touch.  This 
expresses  the  lyric  intensity  of  feeling.  Then  empha- 
size a  few  such  words  as  "  eternal,"  "  space,"  "  motion," 
"  time,"  and  "  only  "  with  long  falling  inflexions,  the 
whole  being  given  with  wide   chanjies  of  pitch  and 


MOVEMElfT  267 

range.  Then  introduce  long  pauses  after  these  words 
and  emphasize  the  depth  of  the  passage.  If  we  give 
saliency  to  these  words  by  inflexion  we  may  simultane- 
ously increase  feeling  and  tone-color.  Earnestness  of 
thought  and  feeling  are  not  antagonistic. 

We  can  at  the  same  time  emphasize  by  a  very  slow 
movement,  the  weight,  value,  and  spiritual  significance 
of  the  passage.  Movement  can  hardly  be  isolated 
from  the  other  modulations  since  it  expresses  the 
degree  of  genuine  realization  of  a  truth;  but  we  can 
employ  it  more  or  less  independently  of  the  other 
modulations.  Pause  and  touch  are  needed  to  express 
its  intensity;  form  and  range  to  convey  its  thought. 
Coloring  is  necessary  to  express  its  spiritual  feeling 
and  the  action  of  the  imagination.  But  the  deepest 
element  in  it  is  shown  by  the  long  pulsations,  the 
movement  which  expresses  its  transcendent  weight,  or 
the  effort  of  the  mind  to  comprehend  the  character  of 
an  infinite  being. 

Render  the  following  with  intense  earnestness,  and 
notice    that   you   can   make    the  words  "do   it  n-io 
now "   emphatic   by   a   long   pause  and   a   very 
slow  movement. 

If  some  grand  thing  for  tomorrow 

You  are  dreaming,  do  it  now; 
From  the  future  do  not  borrow; 

Frost  soon  gathers  on  the  brow. 

Days  for  deeds  are  few,  my  brother; 

Then  to-day  fulfil  thy  vow. 
If  you  mean  to  help  another, 

Do  not  dream  it  —  do  it  now. 

NOT  KNOWN. 

Render  carefully  these  lines  from  "  Paul  Revere's 
Ride."    Note    especially    the    extreme    change    at    the 
fifth    line.      Longfellow   seems    to    drop    for   a  „.„ 
moment  the  historical  significance  of  his  story, 
and  take  the  point  of  view  of  some  one  along  the  road 


268  FOUlfDATIONS   OF   EXPRESSION 

who  saw  an  excited  rider  rushing  by  without  knowing 
why.  He  then  makes  the  reader  pass  from  the  rhythm 
of  mere  excitement  or  curiosity,  and  forces  him  to 
turn  from  mere  events  to  their  larger  historical  signifi- 
cance. This  transition  cannot  be  expressed  except  by 
change  of  movement.  It  is  the  deeper,  longer  pulsa- 
tions in  the  modulation  of  movement  which  expresses 
the  larger  significance  of  the  event. 

A  hurry  of  hoofs  in  a  village  street, 
A  shape  in  the  moonlight,  a  bulk  in  the  dark, 
And  beneath,  from  the  pebbles,  in  passing,  a  spark 
Struck  out  by  a  steed  flying  fearless  and  fleet* 

That  was  all.     And  yet,  through  the  gloom  and  the  light. 
The  fate  of  a  nation  was  riding  that  night ; 
And  the  spark  struck  out  by  that  steed,  in  his  flight, 
Kindled  the  land  into  flame  with  its  heat. 

*  Paul  Ravere's  Ride."  LONGFELLOW. 

There  are  almost  innumerable  such  changes,  the 
indication  of  which  calls  for  variations  of  movement, 
such  as  changes  in  weight,  in  excitement,  in  dignity, 
in  control,  in  the  character  of  the  feeling  or  changes 
from  the  negative  to  the  positive. 

Take  short  passages  and  give  them,  not  with  monot- 
onous loudness  and  declamation  but  with  intense  real- 
ization of  each  idea,  with  the  movement  of  „.. 
genuine  conviction,  changing  the  rhythm  accord- 
ing to  the  intensity  of  the  thought,  the  nature  of  the 
feeling,  and  the  sense  of  the  purpose  and  relative  weight 
of  the  truth  to  be  uttered. 

The  friar  crawled  up  the  mouldy  stair 

To  his  damp  cell,  that  he  might  look 
Once  more  on  his  beloved  Book. 

And  there  it  lay  upon  the  stand, 
Open !  —  he  had  not  left  it  so. 

He  grasped  it  with  a  cry ;  for,  lo, 
He  saw  that  some  angelic  hand 

While  he  was  gone  had  finished  itV 
"  War  Jero«ie-8  Beautiful  Book."  T.  B.  ALDRICB. 


MOVEMENT  209 

What  is  time?  —  the  shadow  on  the  dial,  —  the  striking  of  the 
clock,  —  the  running  of  the  sand,  —  day  and  night,  —  summer 
and  winter,  —  months,  years,  centuries?  These  are  but 
arbitrary  and  outward  signs,  —  the  measure  of  time,  not  time 
itself.  Time  is  the  life  of  the  soul.  If  not  this,  —  then  tell  me, 
what  is  time? 

NOT   KNOWN. 

He  stayed  not  for  brake,  and  he  stopped  not  for  stone, 

He  swam  the  Eske  River  where  ford  there  was  none. 

But,  ere  he  alighted  at  Netherby  gate, 

The  bride  had  consented,  the  gallant  came  late: 

For  a  laggard  in  love,  and  a  dastard  in  war. 

Was  to  wed  the  fair  Ellen  of  brave  Lochinvar. 

•tochinvar."  SCOTT. 

POETRY  OF   SCIENCE. 

Presented  rightly  to  the  mind,  the  discoveries  and  generali- 
zations of  modern  science  constitute  a  poem  more  sublime  than 
has  ever  yet  been  addressed  to  the  intellect  and  imagination  of 
man.  The  natural  philosopher  of  to-day  may  dwell  amid  con- 
ceptions which  beggar  those  of  Milton.  So  great  and  grand  are 
they,  that,  in  the  contemplation  of  them,  a  certain  force  of 
■;haracter  is  requisite  to  preserve  us  from  bewilderment. 

Look  at  the  integrated  energies  of  our  world  —  the  stored 
pt>iwer  of  our  coal-fields ;  our  winds  and  rivers ;  our  fleets,  armies, 
and  guns.  What  are  they?  They  are  all  generated  by  a  portion 
rf  the  sun's  energy,  which  does  not  amount  to  an  infinitesimal 
part  of  the  whole.  Multiplying  our  powers  by  millions  of  millions, 
we  do  not  reach  the  sun's  expenditure. 

And  still,  notwithstanding  this  enormous  drain,  in  the  lapse 
of  human  history,  we  are  unable  to  detect  a  diminution  of  his 
store.  Measured  by  our  largest  terrestrial  standards,  such  a 
reservoir  of  power  is  infinite;  but  it  is  our  privilege  to  rise 
above  these  standards,  and  to  regard  the  sun  himself  as  a  speck 
in  infinite  extension,  a  mere  drop  in  the  universal  sea. 

We  analyze  the  space  in  which  he  is  immersed,  and  which 
is  the  vehicle  of  his  power.  We  pass  to  other  systems  and  other 
suns,  each  pouring  forth  energy  like  our  own,  but  still  without 
infringement  of  the  law,  which  reveals  immutability  in  the 
midst  of  change,  which  recognizes  incessant  transference  and 
conversion,  but  neither  final  gain  nor  loss.     .     .     . 

To  nature  nothing  can  be  added;  from  nature  nothing  can 
be  taken  away;  the  sum  of  her  energies  is  constant,  and  the 
utmost  man  can  do  in  the  pursuit  of  physical  truth,  or  in  the 
application  of  physical  knowledge,  is  to  shift  the  constituents 
of  the  never-varying  total,  and  out  of  one  of  them  to  form 
another.  The  law  of  conservation  rigidly  excludes  both  creatioa 
and  annihilation. 


270  FOUNDATIONS  OF   EXPRESSION 

Waves  may  change  to  ripples,  and  ripples  to  waves ;  magni- 
tude may  be  substituted  for  nimiber,  and  number  for  magnitude ; 
asteroids  may  aggregate  to  suns,  sims  may  resolve  themselves 
into  florae  and  faunae,  and  florae  and  faunae  melt  in  air;  the 
flux  of  power  is  eternally  the  same.  It  rolls  in  music  through 
the  ages,  and  all  terrestrial  energies  —  the  manifestations  of 
life  as  well  as  the  display  of  phenomena  —  are  but  the  modu- 
lations of  its  rhythm. 

JOHN  TYNDALL. 

CHAMOUin   AT   SUNRISE. 

From  the  deep  shadow  of  the  still  fir-groves 
Trembling  I  look  to  thee,  etern  I  heightJ 
Thou  dazzling  summit,  from  '  /hose  top  my  soul 
Floats,  with  dimmed  vision,  to  he  infinite! 

Who  sank  in  earth's  firm  lap  the  pillars  deep 
Which  hold  thro  gh  ag     thy  vast  pile  in  place? 
Who  reared  on  high,  in  the  clear  ether's  vault. 
Lofty  and  strong,  thy  ever-radiant  face? 

Who  poured  you  forth,  ye  mountain  torrents  wild, 
Down  thundering  from  eternal  winter's  breast? 
And  who  commanded,  with  almighty  voice, 
"  Here  let  the  stiffening  billows  find  their  rest  "  ? 

Who  points  to  yonder  morning-star  his  path, 
Borders  with  wreaths  of  flowers  the  eternal  frost? 
To  whom,  in  awful  music,  cries  the  stream, 
O  wild  Arveiron !  in  fierce  txmiult  tossed? 

Jehovah  1  God !  bursts  from  the  crashing  ice , 
The  avalanche  thunders  down  the  steeps  the  call: 
Jehovah !  rustle  soft  the  bright  tree-tops. 
Whisper  the  silver  brooks  that  murmuring  fall. 
Translated  by  Dwight.  FREDRIKE  BRUN 

CHILD'S   SONG  IN  WINTER. 

In  fierce  March  weather,  white  waves  break  tether,  and  whirled 
together  at  either  hand,  like  weeds  uplifted,  the  tree-tnmks 
rifted  in  spars  are  drifted,  like  foam  or  sand,  past  swamp  and 
sallow,  and  reed-beds  callow,  through  pool  and  shallow,  to  wind 
and  lee,  till,  no  more  tongue-tied,  full  flood  and  young  tide 
roar  down  the  rapids  and  storm  the  sea.  As  men's  cheeks  faded 
on  shores  invaded,  when  shorewards  waded  the  lords  of  fight; 
when  churl  and  craven  saw  hard  on  haven  the  wide-winged 
raven  at  mainmast  height;  when  monks  affrighted  to  windward 
sighted  the  birds  full-flighted  of  swift  sea-kings ;  so  earth  tiu'ns 


MOVEMENT 


271 


paler  when  Storm  the  sailor  steers  in  with  a  roar  in  the  race  of 
his  wings. 

O  strong  sea-sailor,  whose  cheek  turns  paler  for  wind  or  hail  or 
for  fear  of  thee?  O  far  sea-farer,  O  thunder-bearer  thy  songs 
are  rarer  than  soft  songs  be.  O  fleet-foot  stranger,  O  north-sea 
ranger  through  days  of  danger  and  wajrs  of  fear,  blow  thy  horn 
here  for  us,  blow  thy  sky  clear  for  us,  send  us  the  song  of  the  sea 
to  hear.  .  .  . 

Roll  the  strong  stream  of  it  up,  till  the  scream  of  it  wake 
from  a  dream  of  it  children  that  sleep,  seamen  that  fare  tor 
them  forth,  with  a  prayer  for  them ;  shall  not  God  care  for  them, 
angels  not  keep?  Spare  not  the  surges  thy  stormy  scourges; 
spare  us  the  dirges  of  wives  that  weep.  Turn  back  the  waves 
for  us:  dig  no  fresh  graves  for  us,  wind,  in  the  manifold  gulfs 
of  the  deep.  O  stout  north-easter,  sea-king,  land-waster, 
for  all  thine  haste,  or  thy  stormy  skill,  yet  hadst  thou  never,  for 
all  endeavor,  strength  to  dissever  or  strength  to  spill,  save  of  his 
giving  who  gave  our  living,  whose  hands  are  weaving  what  ours 
fulfil;  whose  feet  tread  under  the  storms  and  thunder;  who 
made  our  wonder  to  work  his  will.  His  years  and  hours,  his 
world's  blind  powers,  his  stars  and  flowers,  his  nights  and  days, 
sea-tide  and  river,  and  waves  that  shiver,  praise  God  the  giver  of 
tongues  to  praise.  Winds  in  their  blowing,  and  fruits  in  growing; 
time  in  its  going,  while  time  shall  be;  in  death  and  living,  with 
one  thanksgiving,  praise  him  whose  hand  is  the  strength  of  th* 

ALGERNON  CHARLES  SWINBURNE. 

Speak  disparagingly  upon  a  subject,  and  then  in  a 
way  to  approve  it  and  enforce   its   importance,   _^_ 
noting  the  difference  in  delivery. 

PADRE   PUGNACCIO. 

Up  the  steps  of  the  dome  of  Saint  Peter's,  between  two  peni- 
tents wrapped  in  mantillas,  his  head  out  of  his  hood,  walked 
Padre  Pugnaccio.  The  bells  were  quarrelling  in  the  clouds. 
One  of  the  penitents,  the  aunt,  counted  an  Ave  for  each  bead  ot 
her  rosary;  and  the  other,  the  niece,  ogled  from  the  corner  of 
her  eyes  a  handsome  officer  of  the  Pope's  guard.  The  monk 
muttered  to  the  old  woman,  '*  Make  a  donation  to  my  con- 
vent; "  and  the  officer  slipped  a  perfumed  note  into  the  young 
girl's  hand. 

The  sinner  wiped  a  few  tears  from  her  eyes;  the  maiden 
blushed  with  pleasure;  the  monk  was  calculating  the  interest 
of  a  thousand  piastres  at  twelve  per  cent;  and  the  officer  was 
gazing  at  himself  in  a  hand-mirror,  and  curling  the  tips  of  his 
mustachio.  And  the  devil,  squatting  in  the  loose  sleeve  of 
Padre  Piignaccio,  chuclded  like  Pxilcinella 

LOUIS  BERTRAKD 


FOUNDATIONS   OF   EXPRE88I0!! 

Speak  upon  some  theme  in  which  you  are  vitally 
interested,  and  contrast  the  negative  with  the  positive, 
the    superficial  and   external  with  the  weighty,   „.« 
the  secondary  with  the  primary,  the   accidental 
with  the  fundamental,  by  the  greatest  possible  variation 
of  rhythm  and  movement. 

Wise,  Oi  a  wisdom  far  beyond  our  shallow  depth,  was  that 
old  precept:  Watch  thy  tongue;  out  of  it  are  the  issues  of  lifel 
"  Man  is  properly  an  incarnated  word :  "  the  word  that  he  speaks 
is  the  man  himself.  Were  eyes  put  into  our  head,  that  we  might 
see,  or  only  that  we  might  fancy,  and  plausibly  pretend,  we  had 
seen?  Was  the  tongue  suspended  there,  that  it  might  tell  truly 
what  we  had  seen,  and  make  man  the  soul's-brother  of  men; 
or  only  that  it  might  utter  vain  sounds,  jargon,  soul-confusing, 
and  so  divide  man,  as  by  enchanted  walls  of  Darkness,  from 
union  with  man? 

CARLYLE. 
LEAD,  KINDLY  LIGHT. 

Lead,  kindly  Light,  amid  th'  encircling  gloom,  lead  Thou  me  on; 
The  night  is  dark,  and  I  am  far  from  home,  lead  Thou  me  on; 
Keep  thou  my  feet ;  I  do  not  ask  to  see 
The  distant  scene ;  one  step  enough  for  me. 

1  was  not  ever  thus,  nor  pray'd  that  Thou  shouldst  lead  me  on: 
I  loved  to  choose  and  see  my  path;  but  now  lead  Thou  me  on  I 
I  loved  the  garish  day,  and,  spite  of  fears, 
Pride  ruled  my  will.     Remember  not  past  years  I 

So  long  thy  power  has  blest  me,  sure  it  still  will  lead  me  on 
O'er  moor  and  fen,  o'er  crag  and  torrent,  till  the  night  is  gone, 
And  with  the  morn  those  angel  faces  smile 
Which  I  have  loved  long  since,  and  lost  awhile  f 

NEWMAN. 

Movement  expresses  the  degree  of  life  or  of  assim- 
ilation and  realization.  Absence  of  movement  is  the 
worst  fault  in  expression  because  it  implies  a  mere 
negative  and  neutral  conception  and  no  true  realiza- 
tion. Transitions  in  movement  express  the  variations 
of  realization.  Monotony  of  movement  is  usually  due 
to  the  absence  of  life,  or  to  mechanical  and  artificial 
presentation  of  words. 


XXI. 
ACTION. 

Thought  and  emotion  express  themselves  not  only 
through  the  voice  but  through  the  body.  Each  part  of 
the  body  has  a  distinct  function  in  expression,  and  in 
every  manifestation  of  thought  and  feeUng  there  are 
simultaneous  manifestations  of  face  and  body  which 
blend  in  imity. 

We  have  already  seen  that  tone-color  results  from 
the  diffusion  of  feeling  through  the  body.  But  it  can 
be  easily  seen  that  movement  also  is  a  reflex  action  from 
the  body.  In  fact,  movement  is  action  in  the  realm  of 
vocal  expression,  just  as  the  expressive  modulations  of 
the  body  constitute  movement  in  the  realm  of  action. 

The  importance  of  action  is  shown  from  many  con- 
siderations. It  expresses  the  real  man.  Words  reveal 
his  opinions,  tones  his  emotions,  while  action  reveals 
character. 

The  causes  of  imperfections  in  delivery  can  always 
be  discovered  by  observing  action.  Frequently,  a  bad 
method  of  breathing  is  due  to  a  perverted  action  of  the 
body  as  a  whole  or  a  failure  of  the  body  to  expand 
sympathetically  in  response  to  emotion. 

Again,  action  is  the  expression  of  the  whole  body. 
Vocal  expression  is  the  modulation  of  a  part.  A  part 
cannot  be  correct  while  the  whole  is  wrong. 

Action  is  the  most  subconscious  and  spontaneous  of 
all  modes  of  expression;  although  it  has  conscious 
elements  it  always  has  simultaneously  with  these  many 
unconscious  and  involuntary  ones.  Action  is  the  most 
duect  and  complete  expression  of  life,  and  it  is  also  the 
first   in    time.    The    smile    is    the    earliest    conscious 

873 


274  FOUNDATIONS    OF    EXPRESSION 

expression  of  the  little  child.  The  cry  may  precede  but 
not  the  conscious  and  sympathetic  modulations  of  the 
voice. 

Action  appeals  to  the  eye ;  vocal  expression  to  the  ear. 
Accordingly,  they  constitute  an  appeal  to  two  senses 
at  the  same  time.  This  strengthens  the  impression. 
In  fact,  actions  of  the  body  and  modulations  of  the 
voice  are  living  witnesses  to  the  truth  or  untruth  of 
what  is  expressed  in  words. 

Action  is  a  dramatic  language  and  always  shows 
genuineness  of  assimilation  and  the  presence  of 
dramatic  instinct. 

A  study  of  children  or  of  people  of  imagination  and 
sympathy,  reveals  the  naturalness  of  action.  It  is  not 
only  natural  but  physiologically  necessary.  Power  of 
thinking  and  feeling  is  dependent  upon  the  nerve  cen- 
tres. The  presence  of  action  indicates  the  broader 
co-ordination  of  the  nerve  centres  of  the  brain.  Hence, 
it  is  a  sign  not  only  of  naturalness  but  of  earnestness 
and  intensity  of  realization.  Bodily  actions  establish 
conditions  of  tone.  The  sympathetic  expansion  of  the 
chest,  the  illumination  of  the  face  are  necessary  to  a 
proper  use  of  the  voice.  Expansion  of  the  chest  sets 
free  the  diaphragm  and  the  breathing.  Animation  of 
the  face  opens  and  frees  the  tone  passage  and  colors 
the  voice.  Emotion  modulates  the  texture  of  the 
muscles  of  the  whole  body,  and  causes  natural,  spon- 
taneous action  throughout  the  body.  This  produces  a 
direct  effect  upon  the  quality  of  the  tone  as  well  as 
upon  tone-color. 

Action  is  important  for  other  reasons.  It  indicates 
the  genuineness  of  the  student's  realizations.  It 
enables  the  teacher  to  trace  faults  to  their  causes.  It 
furnishes  a  different  point  of  view  from  which  to  observe 
the  student.  A  person's  earnestness  and  degree  of 
realization,   his   misplaced   labor,   the   sources   of  his 


ACTION  275 

indifference,  all  can  be  seen  in  action  more  clearly  than 
in  any  other  way.  It  complements  the  ear  with  the 
eye  in  realizing  faults  or  needs.  One  who  thoroughly 
understands  action  can  perceive  at  a  glance  the  cause 
of  a  fault  in  tone. 

Another  phase  may  be  called  unity.  Though  action 
may  seem  to  be  merely  in  the  eye,  the  hand,  or  the 
face,  it  really  has,^  when  genuine,  a  subtle  connection 
with  the  whole  body.  The  eye  and  face  lead  and  gov- 
ern the  action  of  other  parts  of  the  body.  From  these 
the  emotion  sweeps  over  the  body  like  a  wave,  and 
all  parts  become  consistent  with  the  activity  at  the 
centre. 

Without  unity  there  can  be  no  art.  Unity  in  action 
can  be  secured  only  by  genuineness  of  realization. 
The  imagination  and  the  sympathies  must  be  awak- 
ened. The  student  must  speak  with  his  whole  nature. 
Expression  must  not  be  merely  local  or  one-sided.  It 
must  be  the  living  utterance  of  a  living  man.  A  normal 
organism  is  alive  in  every  part.  It  is  this  that  makes 
action  so  important.  It  expresses  the  real  life,  and 
will  forever  be  the  deepest  witness  of  genuineness. 

The  natural  languages  seem  far  apart  at  first.  Mod- 
ulations of  the  voice  are  addressed  to  the  ear ;  action  of 
the  body  to  the  eye.  Their  functions  being  distinct, 
many  think  that  action  need  not  always  be  present 
and  that  it  is  purely  accidental.  This  is  a  serious  mis- 
take. Practically  no  true,  expressive  tone,  no  com- 
plete expression  is  possible  without  action. 

How  can  action  be  improved  ?  While  action  is 
naturally  first,  so  universally  is  it  misunderstood  that 
the  student's  attention  should  not  be  directed  to  it  or 
concentrated  upon  it  too  early.  Besides,  as  the  most 
subconscious  of  languages,  it  must  at  first  be  indirectly 
stimulated  by  the  training  of  thinking,  imagination,  and 
feeling    through    vocal    expression.     Pantomime    can 


276  FOUNDATIONS   OF   EXPRESSIOU 

best  be  awakened  as  one  of  the  necessary  conditions 
of  voice  and  speech. 

Soon  or  late,  however,  action  must  receive  direct 
attention.  Its  nature  and  function  should  be  awak- 
ened in  the  student's  consciousness. 

A  few  simple  steps  can  be  indicated  which  may 
awaken  an  appreciation  of  the  unity  of  all  languages, 
and  show  the  necessity  of  expression  through  the  body 
simultaneously  with  speech. 

First,  one  must  realize  the  spontaneous  character  of 
action.  Action  is  as  natural  as  a  smile;  it  must  be 
direct  and  immediate.  It  is  not  a  symbol  but  a  sign 
or  signal,  a  mere  outward,  unconscious  indication  of 
an  inner  condition. 

The  second  step  is  to  recognize  the  fact  that  pan- 
tomime precedes  speech.  It  is  the  most  direct  effect 
of  thought  and  feeling.  Exclamations  must  be  action 
in  part.  A  mere  cry  may  be  as  direct  as  pantomime, 
but  in  speech  the  tone  is  usually  shaped  into  words 
and  becomes  closely  akin  to  the  more  conscious  and 
symbolic  means  of  expression.  For  this  reason  the 
tendency  to  action  must  first  be  felt,  and  its  immedi- 
ateness,  and  spontaneity  fully  realized. 

In  the  third  place  one  must  realize  that  action  is 
not  necessarily  motion  or  gesture.  In  fact,  motion  is 
the  weakest  part  of  action.  A  diffusion  of  emotion 
through  the  whole  body  causing  the  whole,  as  well  as 
a  certain  part  to  take  a  definite  attitude  is  far  more 
expressive.  Attitudes  must  always  transcend  motions 
because  they  express  the  diffusion  of  emotion,  while 
motion  pertains  rather  to  the  outer  organs,  and 
expresses  more  the  transitory  or  superficial  feelings. 

Action  consists  in  gestures,  attitudes,  and  bearings. 
A  gesture  is  a  significant  or  expressive  motion.  It  is 
the  most  superficial  element  in  action,  and  manifests 
mere  intention,  or  transitory  feeling. 


ACTION 


277 


An  attitude  is  a  significant  or  expressive  position  of 
the  body  or  part  of  it.  It  expresses  the  deeper  condi- 
tions or  emotions,  which,  consciously  or  unconsciously, 
dominate  the  sensibilities  for  a  time. 

Motions  and  gestures  are  always  colored  by  atti- 
tudes. The  hand,  for  example,  may  give  the  gesture 
of  rejection,  but  it  must  at  the  same  time  have  a  climax 
in  some  attitude  more  or  less  pronounced.  The  act  of 
rejection  may  be  with  earnestness,  with  indifference, 
with  explosion,  or  with  intense  control.  The  condi- 
tion is  always  deeper  than  the  emotion,  and  so  in  true 
action  the  attitude  always  transcends  the  gesture. 

Bearings  express  still  deeper  conditions  and  motives, 
and  indicate  habits  and  character. 

Again,  action  may  be  manifestative  or  representa- 
tive. Manifestative  action  is  the  revelation  through 
the  motions  and  positions  of  the  body  of  subjective 
conditions.  Representative  action  is  the  illustration  by 
action  of  the  body  of  objective  things  or  relations. 
Manifestation  is  direct,  spontaneous,  emotional,  pas- 
sional. Representation  usually  expresses  pictorial  or 
imaginative  actions  of  the  mind,  and  locates  or  describes 
objects  or  figurative  conceptions. 

We  meet  with  some  one  unexpectedly.  The  effect 
upon  us  causes  action ;  we  expand,  recoil,  throw  up  our 
hands,  and  our  face  kindles.  This  is  manifestation. 
Manifestative  pantomime  expresses  what  words  cannot 
say.  It  directly  reveals  conditions  of  mind,  impres- 
sions, convictions,  and  emotions.  Representative  or 
descriptive  pantomime  is  closer  to  words.  It  describes 
the  objects  which  words  name,  or  it  suggests  their 
relations. 

Manifestative  action  reveals  conditions  and  experi- 
ences, and  supplies  the  deepest  witness  to  the  truth  or 
genuineness  of  what  is  said  in  words  as  well  as  the 
degree  of  conviction  inspired  in  the  heart  of  the  speaker. 


278  FOUNDATIONS    OF    EXPRESSION 

There  is  a  universal  tendency  to  over-estimate  ges- 
ture, in  particular,  representative  or  descriptive  gesture, 
especially  in  modern  English  and  American  elocution. 
Only  a  little  thought  will  show  that  gesture  is  the 
weakest  form  of  expression,  and  representative  gesture 
the  weakest  form  of  gesture. 

The  most  important  feature  of  representative  action 
is  that  it  deals  with  ideas  as  if  they  were  things.  It 
figuratively  presents  a  subjective  and  spiritual  truth  as 
if  it  were  an  object. 

For  example,  we  can  merely  indicate  an  idea ;  we  can 
define  it,  or  we  can  support  it.  We  can  overthrow  it, 
lay  it  open,  maintain  it,  hold  it,  throw  it  aside  as  some- 
thing trivial  or  regard  it  as  something  weighty.  We 
can  locate  an  imaginary  person.  In  fact,  almost 
anything  the  hand  can  do  with  an  object,  it  may  suggest 
in  a  figurative  sense  with  an  idea  or  thought. 

Manifestation  belongs  to  every  part  of  the  body. 
Descriptive  pantomime,  for  the  most  part,  is  confined 
to  the  hand  or  arm.  The  face  has  innumerable 
manifestative  actions  and  so  have  the  feet,  head,  and 
torso,  but  these  parts  of  the  body  have  few  descriptive 
actions. 

Representative  pantomime  never  eliminates  the  mani- 
festative. We  can  say,  for  example,  "  I  saw  a  little 
man  only  so  high,"  indicating  the  height  by  the  hand, 
but  the  torso  and  face  will  at  the  same  time  manifest 
a  feeling  of  pity,  pain,  pleasure,  admiration,  or  wonder. 
Whatever  impression  is  awakened  at  the  time  will  be 
manifested  by  the  face  or  body.  Representative  action 
is  accidental;  manifestative,  more  fundamental. 

It  can  be  seen  at  once  that  manifestative  pantomime 
is  more  important  than  representative.  Manifestative 
pantomime  is  continuous;  representative  pantomime, 
occasional.  In  all  action  we  find  the  principle  that  mani- 
iestative  elements  must  transcend  the  representative. 


ACTION  279 

In  the  proper  development  of  the  voice,  the  student 
must  be  made  to  feel  on  the  one  hand,  the  effect  of  his 
awkward  attitudes,  and  on  the  other,  yet  more,  the 
effect  of  the  diffusion  of  feeling  through  his  whole 
body,  the  positive  texture  of  his  muscles,  and  the 
sympathetic  vibrations  of  tone. 

Special  attention  should  be  given  to  the  poise  and 
attitudes  of  the  body  as  a  whole.  It  must  be  gently 
and  harmoniously  expanded  by  imagination  and  feehng 
and  made  to  act  in  unity  before  the  tone  can  be  right. 

Action  cannot  be  improved  by  one  human  being 
prescribing  a  gesture  for  another.  This  is  the  way  to 
destroy  all  natural  and  expressive  action.  Action  is 
personal  and  must  always  result  from  inner  activity. 
It  must  obey  the  law  from  within  outward.  It  must  be 
the  effect  of  an  inner  condition  or  experience.  It  can- 
not be  brought  about  by  laying  down  rules  as  to  what 
gestures  should  be  made  with  a  certain  class  of  ideas. 

The  improvement  of  pantomime  must  begin  with  a 
fuller  realization  of  truth,  with  assimilation  and  the 
awakening  of  the  imagination  and  dramatic  instinct. 
Thought  and  feeling  and  the  whole  being  must  be 
aroused  and  the  body  must  respond  as  a  whole. 

It  is  this  sympathetic  expansion  which  should  be 
awakened  first.  With  it  there  should  be  the  elevation 
and  centralization  of  the  whole  body  expressing  con- 
centration of  mind  and  self-control.  There  must  be  no 
motion  that  is  forced,  all  must  be  easy  and  reposeful. 

There  will  nearly  always  be  a  tendency  toward  too 
much  motion  in  action,  and  the  great  point  should  b€ 
to  acquire  repose  and  eliminate  stiffness  and  rigidity. 

It  is  very  important  that  the  whole  body  should 
expand  and  express  itself  in  attitudes  before  there  is 
much  motion.  However,  when  motion  comes  natur- 
ally it  should  not  be  repressed. 

Many  students  are  anxious  about  their  gestures.    I 


28o  FOUNDATIONS    OF    EXPRESSION 

have  heard  some  grieve  because  they  felt  no  disposition 
to  make  them. 

Under  such  circumstances  never  force  the  action. 
Such  students,  when  their  imagination  is  awakened, 
when  they  are  led  to  express  their  own  thought  and 
feeling,  when  they  can  assimilate  a  truth  and  give 
expression  to  noble  poetry,  will  begin  to  use,  and  may 
even  tend  toward  too  much  gesture. 

No  one  should  ever  gesture  for  the  sake  of  gesturing, 
or  think  it  necessary  to  use  movement  in  order  to  be 
expressive.  The  impulse  must  come  first,  and  it  will 
always  come  with  true  assimilation.  The  stimulation 
of  the  imagination,  however,  will  often  take  time. 
But  too  little  gesture  is  better  than  too  much.  In  fact, 
the  making  of  too  many  gestures  is  a  great  hindrance 
to  the  development  of  true  action.  Chaotic  motions 
are  frequently  more  difficult  to  correct  than  lack  of 
action. 

The  primary  method  of  improving  action  should 
always  be  the  awakening  of  a  deeper  realization  of 
truth.  Action  will  come  simultaneously  with  the 
awakening  of  dramatic  instinct,  because  it  is  the  chief 
dramatic  language.  Absence  of  action  is  often  due  to 
repression.  "When  repression  is  removed,  and  the 
nerve  centres  of  the  brain  are  awakened  and  brought 
into  natural  co-ordination,  one  of  the  first  effects  will 
be  the  greater  expressive  action  of  the  whole  body. 

Stiffness  or  absence  of  action  is  always  associated 
with  stiltedness  and  constriction  in  vocal  expression. 
The  elimination  of  monotony  and  neutrality  of  mind 
and  voice  and  of  all  negative  conditions  will  proceed 
simultaneously  with  the  improvement  of  action. 

One  of  the  best  methods  of  improving  action  is  to 
review  all  preceding  steps  with  full  and  still  more 
adequate  realization  of  the  thought  and  feeling.  Speak 
with  the  whole  being  and  the  whole  body.    Emphasize 


ACTION  281 

the  fundamental  conditions  of  good  tone,  because  true 
action  is  a  primary  condition  of  tone.  Combining 
action  and  tone  is  an  advanced  step  for  the  voice  which 
all  should  practise^ 

Take  a  short  passage  from  Longfellow's  "  Building 
of  the  Ship "  and  picture  and  conceive  the  scene. 
Observe  in  the  following,  printed  as  prose,  the  _^„ 
ship  about  to  be  launched.  Enter  into  sympathy 
with  it  as  a  playful  boy;  let  the  mind  portray  vivid 
ideas,  allow  feeling  to  dominate,  and  observe  the  effect 
of  these  ideas  upon  the  body.  To  render  this  part  with 
vivid  mental  action  and  without  action  of  the  body  is 
impossible. 

THE   LAUNCHING   OF   THE   SHIP 

"  Build  me  straight,  O  worthy  Master!  staunch  and  strong,  a 
goodly  vessel,  that  shall  laugh  at  all  disaster,  and  with  wave  and 
whirlwind  wrestle!  '*  The  merchant's  word,  delighted,  the 
Master  heard;  for  his  heart  was  in  his  work,  and  the  heart 
giveth  grace  unto  every  art:  and,  with  a  voice  that  was  full  of 
glee,  he  answer'd,  "  Ere  long  we  will  launch  a  vessel  as  goodly 
and  strong  and  staunch  as  ever  weather 'd  a  wintry  sea!  "... 

All  is  finish'd!  and  at  length  has  come  the  bridal  day  of  beauty 
and  of  strength:  to-day  the  vessel  shall  be  launch 'd!  With 
fleecy  clouds  the  sky  is  blanch 'd;  and  o'er  the  bay,  slowly,  in  all 
his  splendours  dight,  the  great  Sun  rises  to  behold  the  sight.  .  .  . 

The  ocean  old,  centuries  old,  strong  as  youth,  as  uncon- 
troll'd,  paces  restless  to  and  fro,  up  and  down  the  sands  of  gold. 
His  beating  heart  is  not  at  rest ;  and  far  and  wide,  with  cea  eless 
flow,  his  beard  of  snow  heaves  with  the  heaving  of  his  breast: 
he  waits  impatient  for  his  bride.  There  she  stands,  with  her 
foot  upon  the  sands,  deck'd  with  flags  and  streamers  gay,  in 
honor  of  her  marriage-day,  her  snow-white  signals  fluttering, 
blending,  round  her  like  a  veil  descending,  ready  to  be  the  bride 
of  the  gray  old  sea. 

Then  the  Master,  with  agestureof  command,  waved  his  hand; 
and  at  the  word  loud  and  sudden  there  was  heard,  all  around 
them  and  below,  the  sound  of  hammers,  blow  on  blow,  knocking 
away  the  shore  and  spurs:  —  and  see !  she  stirs!  She  starts,  — 
she  moves,  —  she  seems  to  feel  the  thrill  of  life  along  her  keel, 
and,  spurning  with  her  feet  the  ground,  with  one  exulting, 
joyous  bound.  She  leaps  into  the  ocean's  arms!  And,  lo,  from 
the  assembled  crowd  there  rose  a  shout,  prolong'd  and  loud> 


282  FOUNDATIONS   OF   EXPRESSION 

that  to  the  ocean  seem'd  to  say,  "  Take  her,  O  bridegroom,  old 
and  gray ;  take  her  to  thy  protecting  arms,  with  all  her  youth  and 
all  her  charms  i  " 

How  beautiful  she  is  I  how  fair  she  lies  within  those  arms  that 
press  her  form  with  many  a  soft  caress  of  tenderness  and 
watchful  carei  Sail  forth  into  the  sea,  O  ship:  through  wind 
and  wave,  right  onward  steer!  the  moisten'd  eye,  the  trembling 
lip,  are  not  the  signs  of  doubt  or  fear,  r  ,  . 

Thou,  too,  sail  on,  O  Ship  of  State!  Sail  on,  O  Union, 
strong  and  great!  Humanity,  with  all  its  fears,  with  all  the 
hopes  of  future  years,  is  hanging  breathless  on  thy  fate!  We 
know  what  Master  laid  thy  keel,  what  Workmen  wrought  thy 
ribs  of  steel,  who  made  each  mast  and  sail  and  rope,  what  anvils 
rang,  what  hammers  beat,  in  what  a  forge,  and  what  a  heat, 
were  shaped  the  anchors  of  thy  hope!  Fear  not  each  sudden 
sound  and  shock;  'tis  of  the  wave,  and  not  the  rock;  'tis  but  the 
flapping  of  the  sail,  and  not  a  rent  made  by  the  gale !  In  spite 
of  rock  and  tempest's  roar,  in  spite  ot  false  lights  on  the  shore, 
sail  on,  nor  fear  to  breast  the  sea!  our  hearts,  our  hopes,  are  all 
with  thee ;  our  hearts,  our  hopes,  our  prayers,  our  tears,  oxir  faith 
triiunphant  o'er  our  fears,  are  all  with  thee,  —  are  all  with  thee! 

LONGFELLOW. 

A  gesture,  or  any  action,  may  be  made  emphatic  by 
being  staid  into  an  attitude.  If,  at  the  end  of  a  gesture 
it  is  stopped  and  held  it  will  express  depth  and  „.„ 
intensity.  This  corresponds  to  pause  in  vocal 
expression.  For  example,  imagine  Lady  Teazle,  as 
turning  around,  after  Sir  Peter's  last  speech,  and  facing 
him,  possibly  pointing  her  finger  at  him  and  laughing 
heartily,  until  he  sees  the  point  before  giving  her  words. 
Why  does  this  have  greater  effect  than  can  be  given 
by  words  or  even  by  vocal  expression? 

Lady  Teazle.  For  my  part,  I  should  think  you  would  like 
to  have  your  wife  thought  a  woman  of  taste. 

Sir  Peter,  Ay ;  there  again  —  taste.  Zoimds  J  madam,  you 
had  no  taste  when  you  married  me  1 

Lady  Teazle.  That's  very  true  indeed,  Sir  Peter;  and  after 
having  married  you,  I  should  never  pretend  to  taste  again,  I  allow. 

The  intense  rendering  of  any  idea  or  thought,  the 
vivid  realization  of  a  situation  and  the  staying  of 
attention  before  giving  a  phrase  always  develops  pan- 
tomime.    Pantomime,    in    a    word,    precedes    speech, 


ACTION  263 

because  it  is  the  direct  effect  of  feeling,  but  it  also  sus- 
tains and  supports  speech.  It  endures  longer  than 
speech.  Accordingly,  the  development  of  pantomime 
is  necessary  in  the  cultivation  of  intensity. 

Development  of  action  must  be  directly  associated 
with  thinking.  To  introduce  a  gesture  merely  as  a 
decorative  element  is  to  degrade  action  and  prevent 
the  student  ever  developing  true  pantomimic  expres- 
sion. Note  that  pantomime  directly  expresses  mental 
action;  that  action  is  primarily  a  matter  of  general 
conditions  and  is  more  direct  than  vocal  expression. 

Render  the  following,  noting  Ingomar's  determina- 
tion and  resolution  to  throw  out  of  his  mind  the  thought 
of  Parthenia,  and  how  he  starts  away  to  join  the  n-in 
others  in  their  sports  and  drill  for  war.  Then 
observe  his  sudden  hesitation:  "  Yet  she  is  not  like  the 
others."  This  thought  produces  changes  in  the  body, 
and  corresponding  sympathetic  modulations  of  the  voice. 

Hark  I  how  mid  their  revelry ! 

They  raise  the  battle-cry!     The  clang  of  arms, 

And  war,  and  victory  for  me !     Away 

With  idle  dreams!     Why,  what  to  me  are  women? 

Yet  she  —  ah !  she  is  not  like  those  at  home. 

Clad  in  their  shaggy  skins,  sunburned,  their  bodies 

Loaded  with  clumsy  ornaments,  happy  in  bondage, 

With  base  caresses  humbly  seeking  favor 

Of  their  base  lords. 

From  "  Ingomar."  KNOVVLES. 

Render   discoveries,    surprises,   or   deep   realizations 
so  genuinely  as  to  cause  natural  action,  includ-  nnn 
ing  the  accentuation  of  the  rhythm  of  breathing 
and  all  the  precedent  conditions  of  vocal  expression. 

When,  do£fed  his  casque,  he  felt  free  air,  aroimd  'gan  Mar- 
mion  wildly  stare:  "  Where's  Harry  Blount?  Fitz-Eustace 
where?  linger  ye  here,  ye  hearts  of  hare!  redeem  my  pennon,  — 
charge  again!  cry  —  '  Marmion  to  the  rescue!  '  —  Vain!  last  of 
my  race  —  on  battle-plain  that  shout  shall  ne'er  be  heard 
again!  —  yet  my  last  thought  is  England's  —  fly,  to  Dacre  bear 
my  signet  ring:  tell  him  his  squadrons  up  to  bring.  Fitz-Eustace, 
to  Lord  Surrey  hie;  Tunstall  lie  dead  upon  the  field,  his  life- 


284  FOUHDATIONS   OF   EXPRESSION 

blood  stains  the  spotless  shield:  Edmund  is  down:  —  my  life  is 
reft;  the  admiral  alone  is  left.  Let  Stanley  charge  with  spur  of 
fire,  —  with  Chester  charge,  and  Lancashire,  full  upon  Scot- 
land's central  host,  or  victory  and  England's  lost.  Must  I  bid 
twice?  —  hence,  varlets!  fly!  leave  Marmion  here  alone  —  to 
die."  They  parted,  and  alone  he  lay;  Clare  drew  her  from  the 
sight  away,  till  pain  wrung  forth  a  lowly  moan,  and  half  he 
murmiu-ed,  "  Is  there  none,  of  all  my  halls  have  nurst,  page, 
squire,  or  groom,  one  cup  to  bring  of  blessed  water  from  the 
spring,  to  slake  my  dying  thirst?  " 

Marmion."  SCOTT. 

At  eve  they  all  assembled,  all  care  and  doubt  were  fled;  with 
jovial  laugh  they  feasted,  the  board  was  nobly  spread.  The 
elder  of  the  village  rose  up,  his  glass  in  hand,  and  cried,  "  We 
drink  the  downfall  of  an  accursed  land!  The  night  is  grov/ing 
darker;  ere  one  more  day  is  flown  Bregenz,  our  foemen's  strong- 
hold, Bregenz  shall  be  our  own!  "  The  women  shrank  in  terror 
(yet  pride,  too,  had  her  part),  but  one  poor  Tyrol  maiden  felt 
death  within  her  heart.  Before  her  stood  fair  Bregenz,  once 
more  her  towers  arose;  what  were  the  friends  beside  her?  Only 
her  country's  foes!  The  faces  of  her  kinsfolk,  the  days  of 
childhood  flown,  the  echoes  of  her  mountains  reclaim'd  her  as 
their  own. 

"  Legend  of  Bregenz ."  PRO  CTO  R. 

A  moment  there  was  awful  pause,  —  when  Berkley  cried, 
"  Cease,  traitor  !  cease !  God's  temple  is  the  house  of  peace !  " 
The  other  shouted,  "  Nay,  not  so,  when  God  is  with  our  right- 
eous cause;  his  holiest  places  then  are  ours.  His  temples  are 
our  forts  and  towers,  that  frown  upon  the  tyrant  foe;  in  this, 
the  dawn  of  Freedom's  day,  there  is  a  time  to  fight  and  pray !  " 

Can  you  make  a  strong,  passional  transition  at  the 
word  "  but "  in  the  first  of  the  following?    Practise 
other    sudden    and    extreme    transitions,    and     noi 
observe  the  effect  on  the  texture  and  action  of 
the  body.     How  and  why  do  they  affect  the  action  of 
the  body  as  a  whole? 

These  flowers  were  beautiful,  but  they  are  faded. 

I  only  wish  I'd  got  him  safe  in  these  two  motherly  arms,  and 
wouldn't  I  hug  him  and  kiss  him !  Lawk !  I  never  knew  what 
a  precious  he  was  —  but  a  child  don't  feel  like  a  child  till 
you  miss  him.  Why,  there  he  is !  Punch  and  Judy  hunting, 
the  yoimg  wretch,  it's  that  Billy  as  sartin  as  sin  I  But  let  me 
get  him  home,  with  a  good  grip  of  his  hair,  and  I'm  blest  if  he 
shall  have  a  whole  bone  in  his  skin. 

THOMAS  HOOD. 


Acnon  285 

When,  climbing  the  wet  trees,  next  morning-sun 

Laugh'd  at  the  ruin  that  the  night  had  done. 

Bleeding  and  drench 'd,  by  toil  and  sorrow  bent. 

Back  to  what  used  to  be  my  home  I  went. 

But,  £is  I  near'd  our  little  clearing-ground,  — 

Listen!  —  I  heard  the  cow- bell's  tinkling  sound. 

The  cabin  door  was  just  a  bit  ajar; 

It  gleam'd  upon  my  glad  eyes  like  a  star. 

"  Brave  heart,"  I  said,  "  for  such  a  fragile  form 

She  made  them  guide  her  homeward  through  the  storm  I  " 

Such  pangs  of  joy  1  nt  /er  felt  before. 

"  You've  come!  "  I  shouted,  and  rush'd  through  the  door. 

Yes,  she  had  come,  —  and  gone  again.     She  lay 

With  all  her  young  life  crush 'd  and  wrench 'd  away. 

Give   a   speech   upon   any   subject,   and   arrange   a 
sudden   transition   or    contrast    in   situation   or  ___ 
feeling.     Accentuate  this  by  a  long  pause  or  an 
extreme  change  in  the  actions  of  the  body  and  modu- 
lations of  the  voice. 

Study  so   carefully  and  thoroughly   "  Lady  Clare  " 
that    every   situation,    emotion,   and   peculiarity   -^o 
of  the  characters,  as  well  as  the  words,  become 
completely  your  own,  and  render  it  observing  especially 
the  action. 

LADY   CLARE. 

It  was  the  time  when  lilies  blow,  and  clouds  are  highest  up  in 
air,  Lord  Ronald  brought  a  lily-white  doe  to  give  his  cousin. 
Lady  Clare.  I  trow  they  did  not  part  in  scorn:  lovers  long- 
betrothed  were  they;  they  two  will  wed  the  morrow  morn; 
God's  blessing  on  the  day.  "  He  does  not  love  me  for  my  birth, 
nor  for  my  lands,  so  broad  and  fair;  he  loves  me  for  my  own 
true  worth,  and  that  is  well,"  said  Lady  Clare. 

In  there  came  old  Alice,  the  nurse,  said,  "  Who  was  this  that 
went  from  thee?  "  "  It  was  my  cousin,"  said  Lady  Clare; 
"  To-morrow  he  weds  with  me."  *'  Oh,  God  be  thanked !  "  said 
Alice,  the  nurse,  *'  That  all  comes  round  so  just  and  fair :  Lord 
Ronald  is  heir  of  all  your  lands,  and  you  are  not  the  Lady  Clare." 
"  Are  ye  out  of  your  mind,  my  nurse,  my  nurse?  "  said  Lady 
Clare,  "  that  ye  speak  so  wild?  "  "  As  God's  above,"  said  Alice, 
the  nurse,  "  I  speak  the  truth  ;  you  are  my  child.  The  old  earl's 
daughter  died  at  my  breast:  I  speak  the  truth  as  I  live  by  bread  I 
I  buried  her  like  my  own  sweet  child,  and  put  my  child  in  her 
stead  " 


286  FOUNDATIONS   OF   EXPRESSION 

"  Falsely,  falsely  have  ye  done,  O  mother,"  she  said,  "  if  this 
be  true,  to  keep  the  best  man  under  the  sun  so  many  years  from 
his  due."  "  Nay  now,  my  child,"  said  Alice  the  nurse,  "  but 
keep  the  secret  for  your  life,  and  all  you  have  will  be  Lord 
Ronald's  when  you  are  man  and  wife."  "  If  I'm  a  beggar 
born,"  she  said,  "  I  will  speak  jut,  for  I  dare  not  lie :  pull  off, 
pull  off  the  brooch  of  gold,  and  fling  the  diamond  necklace  by." 
"Nay  now,  my  child,"  said  Alice  the  nurse,"  but  keep  the  secret 
all  ye  can."  She  said,  "  Not  so:  but  I  will  know,  if  there  be  any 
faith  in  man." 

"Nay  now,  what  faith?"  said  Alice  the  nurse;  "the  man 
will  cleave  unto  his  right."  "  And  he  shall  have  it,"  the  lady 
replied,  "  though  I  should  die  to-night."  "  Yet  give  one  kiss  to 
your  mother  dear!  alas,  my  child,  I  sinned  for  thee."  "O 
mother,  mother,  mother  1  "  she  said,  "  so  strange  it  seems  to  me. 
Yet  here's  a  kiss  for  my  mother  dear,  my  mother  dear,  if  this 
be  so ;  and  lay  your  hand  upon  my  head,  and  bless  me,  mother, 
ere  I  go." 

She  clad  herself  in  a  russet  gown  —  she  was  no  longer  Lady 
Clare:  she  went  by  dale,  and  she  went  by  down,  with  a  single 
rose  in  her  hair.  The  lily-white  doe  Lord  Ronald  had  brought 
leapt  up  from  where  she  lay,  dropt  her  head  in  the  maiden's 
hand,  and  followed  her  all  the  way. 

Down  stept  Lord  Ronald  from  his  tower:  "  O  Lady  Clare, 
you  shame  your  worth !  Why  come  you  dressed  like  a  village 
maid,  that  are  the  flower  of  the  earth?  "  "  If  I  come  dressed 
like  a  village  maid,  I  am  but  as  my  fortunes  are :  I  am  a  beggar 
born,"  she  said,  "  and  not  the  Lady  Clare."  "  Play  me  no  tricks," 
said  Lord  Ronald,  "  for  I  am  yoiu"S  in  word  and  deed.  Play  me 
no  tricks,"  said  Lord  Ronald,  "  your  riddle   is  hard  to  read." 

Oh,  and  proudly  stood  she  up!  her  heart  within  her  did  not 
fail:  she  looked  into  Lord  Ronald's  eyes,  and  told  him  all  her 
nvu-se's  tale.  He  laughed  a  laugh  of  merry  scorn:  he  turned  and 
kissed  her  where  she  stood:  "  If  you  are  not  the  heiress  born, 
and  I,"  said  he,  "  the  next  of  blood  —  "  If  you  are  not  the 
heiress  born,  and  I,"  said  he,  "  the  lawful  heir,  we  two  will  wed 
to-morrow  morn,  and  you  shall  still  be  Lady  Clare." 

TENNYSON. 

Note  the  sympathy,  admiration,  and  yet  calm  repose 
indicated  at  the  beginning  of  "  Lady  Clare."  The 
entrance  and  question  of  the  nurse  produces  a  complete 
change  in  the  texture  and  conditions  of  the  voice  and 
body,  and  action  of  the  face,  chest,  and  arms,  as  well 
as  certain  modulations  of  the  inflexions  indicative  of 
deeper  significance. 


AcnoF  287 

In  the  words,  "  It  all  comes  round  so  just  and  fair," 
the  joy  of  the  old  nurse  is  intense  and  accompanied 
with  an  expansive  action  of  body  and  voice,  showing 
that  she  has  thrown  off  a  great  burden  and  is  full  of 
delight  at  the  results.  The  anxiety  and  the  eager, 
excited  recoil  of  Lady  Clare  indicate  a  premonition  and 
a  vague  fear,  but  it  is  not  ignoble,  for  this  would  be 
inconsistent  with  her  later  conduct.  So  the  nurse 
goes  on  more  and  more  eagerly  with  her  revelations, 
while  Lady  Clare's  excitement  deepens. 

The  expostulations  of  the  nurse,  her  scepticism  as 
to  man's  nobility,  and  her  pleading  with  her  daughter 
to  "  keep  the  secret  "  are  given  eagerly  with  a  certain 
sense  of  secrecy.  She  even  shows  contempt  for  her 
daughter's  scruples.  Lady  Clare,  on  the  contrary, 
expands  more  and  more;  her  bearing  becomes  more 
elevated,  and  her  nobleness  more  manifest  as  the  facts 
are  disclosed. 

Notice  the  intensity,  the  sympathy,  and  admiration 
of  the  reader  as  Lady  Clare  is  described  on  her  journey. 
The  climax  of  our  admiration  comes  with  an  expansion 
and  elevation  of  the  body  and  a  transfiguration  of  tone 
as  the  reader  admires  and  describes  her  courage  in 
frankly  confessing  all  to  Lord  Ronald. 

Observe  the  many  excited  transitions  and  variations. 
Care  must  be  taken  not  to  exaggerate  accidentals.  To 
give  the  talk  of  the  nurse  mechanically  will  superfi- 
cialize  the  whole  poem.  There  is  need  of  resolution, 
self-control,  and  gravitation  of  the  body  in  the  transi- 
tion from  character  to  character.  Notice  that  the  best 
portions  are  not  the  direct  personations,  but  the  intense 
realizations  of  the  reader  himself.  He  must  express 
admiration  for  her  moral  courage,  and  reveal  this  by 
manifestative  action. 

Observe  Othello's  intense  realization  of  each  idea  as 
he  frankly  and  honestly  relates  his  story  to  the  digni- 


288  FOUNDATIONS   OF   EXPRESSION 

taries  of  Venice.  Each  picture  as  it  is  realized  causes 
a  definite  action  in  his  body.  For  example,  ^94 
when  the  father  would  naturally  turn  away 
from  him  and  resent  his  reference,  Othello  would  yet, 
with  a  certain  deprecatory  action,  say,  after  hesitation, 
"  loved  me."  The  student  should  carefully  think  out 
the  whole  speech  and  every  idea  in  it,  or  take  some 
other  important  passage,  and  note  that  action  is  in 
complete  unity  with  emphasis  by  inflexion,  and  that  in 
every  case  action  precedes  the  voice  modulation,  and 
is  a  part  of  the  condition  of  tone. 

THE  DEFENSE  OF  OTHELLO. 

Most  potent,  grave,  and  reverend  signiors 

My  very  noble  and  approved  good  mast-^:,  — 

That  I  have  ta'en  away  this  old  man's  daughter. 

It  is  most  true;  true,  I  have  married  her; 

The  very  head  and  front  of  my  offending. 

Hath  this  extent,  no  more.     Rude  am  I  in  my  speech 

And  little  bless 'd  with  the  set  phrase  of  peace; 

For  since  these  arms  of  mine  had  seven  years'  pith, 

Till  now  some  nine  moons  wasted,  they  have  used 

Their  dearest  action  in  the  tented  field; 

And  little  of  this  great  world  can  I  speak. 

More  than  pertains  to  feats  of  broil  and  battle; 

And  therefore  little  shall  I  grace  my  cause. 

In  speaking  f  r  myself.     Yet,  by  your  gracious  patience 

I  will  a  round  unvarnished  tale  deliver. 

Of  my  whole  course  of  love ;  what  drugs,  what  charms. 

What  conjuration,  and  what  mighty  magic 

(For  such  proceeding  I  am  charged  withal), 

I  won  his  daughter 

Her  father  loved  me;  oft  invited  me; 
Still  questioned  me  the  story  of  my  life. 
From  year  to  year ;  the  battles,  sieges,  fortunes 
That  I  have  pass'd. 

I  ran  it  through,  even  from  my  boyish  da3rs, 
To  the  very  moment  that  he  bade  me  tell  it: 
Wherein  I  spoke  of  most  disastrous  chances, 
Of  moving  accidents,  by  flood  and  field ; 
Of  hair-breadth  'scapes  in  the  imminent  deadly  breach  } 
Of  being  taken  by  the  insolent  foe, 
And  sold  to  slavery;  of  my  redemption  thence, 
And  with  it  all  my  travels'  history.  .  .  .  ^ 


ACTIOR  if6c 

These  things  to  hear, 
Would  Desdemona  seriously  incline; 
But  still  the  house  affairs  would  draw  her  thence 
Which  ever  as  she  could  with  haste  despatch, 
She'd  come  again,  and  with  a  greedy  ear 
Devour  up  my  discourse ;  which  I  observing, 
Took  once  a  pliant  hour ;  and  found  good  means 
To  draw  from  her  a  prayer  of  earnest  heart, 
That  1  would  all  my  pilgrimage  dilate, 
Whereof  by  parcels  she  had  something  heard. 
But  not  attentively.      I  did  consent; 
And  often  did  beguile  her  of  her  tears, 
When  I  did  speak  of  some  distressful  stroke, 
That  my  youth  suffered.     My  story  being  done, 
She  gave  me  for  my  pains  a  world  of  sighs ; 
She  swore  —  in  faith,  't  was  strange,  't  was  passing  strange, 
*T  was  pitiful,  *t  was  wondrous  pitiful; 
She  wished  she  had  not  heard  it;  yet  she  wished 
That  Heaven  had  made  her  such  a  man.     She  thank  *d  me; 
And  bade  me  if  I  had  a  friend  that  loved  her, 
I  should  but  teach  him  how  to  tell  my  story. 
And  that  would  woo  her.     On  this  hint,  I  spake; 
She  loved  me  for  the  dangers  1  had  pass'd ; 
And  I  loved  her,  that  she  did  pity  them. 
This  only  is  the  witchcraft  I  have  used. 

SHAKESPEARE. 

Make  a  short  address  on  some  living  theme  of  the 
day ;  or  speak  a  passage,  first  with  a  great  deal  of   ^ok 
motion,  then  with  definite  attitudes,  staying  the 
motions  in  positions  which  express  the  fundamental 
experience  of  the  passage,  and  note  the  difference. 

CHRISTIANITY  AND  PAGANISM. 

Who  that  has  seen  Christianity  and  Paganism  as  they  once 
were,  would  not  have  said  that  the  caverns  were  destined  to 
disappear,  and  that  the  mightier  structure  raised  in  the  air  and 
light  as  the  abode  of  pleasure  and  vice  was  destined,  by  its  false 
brilliancy,  by  its  apparent  power,  by  its  pretended  strength,  by 
the  courtiers  who  encircled  it,  to  endure  for  ages?  Yet  the 
Caesars  have  departed;  the  Senate  is  crowned  with  laurels  no 
morel 

There  were  the  soldiers  with  their  burnished  armor:  the 
priests,  thos*  """^'es  of  the  past  and  prophets  of  the  future;  the 
proud  and  weaiiny  nobles;  the  slaves  of  the  Circus;  the  glad- 
iators; the  triumphal  arches;  the  colossal  montunents;  the 
obelisks,  witness  of  so  many  ages  and  the  spoil  of  so  many 


290 


FOUNDATIONS   OF  EXPRESSION 


battles.  And  beneath  all  these  lived  an  obscure  and  feeble  sect, 
proclaiming  a  high  morality  in  the  midst  of  general  depravity^ 
and  having  for  their  only  power,  prayer  I  for  their  only  victory, 
mart3n-dom  I 

What  strength  had  they,  what  arms?  Their  word!  What 
riches  ?  Their  faith !  What  power?  That  of  resignation 
and  suffering  1  Had  they  legions?  The  legions  of  martyrs! 
Had  they  property?     That  of  the  tomb  1 

What  they  possessed  was  a  force  unconquerable;  a  weapon 
never  blunted;  riches  that  cannot  be  lost;  possessions  that 
cannot  be  exhausted.  The  mysterious  light  without  shadow 
and  which  grows  not  dim;  the  living  fire  which  quickens  and  is 
not  quenched;  the  immortal  soul  of  nature;  the  acting  spring 
of  society;  the  air  in  which  the  soul  is  free!  an  unfailing  faith 
bestowed  on  them  by  Heaven  with  the  gift  of  miracles.  .  .  . 

The  conquered  were  conquerors.  The  proscribed  became 
mighty,  —  the  dead  were  givers  of  life ;  the  weak,  with  hands 
pierced  by  the  nails  of  the  cross,  vanquished  the  savage  strength 
of  Pagan  Rome  1 

CASTELAR. 

Study  the  language  of  the  whole  body.     Speak  upoi 
an  important  theme  and  let  the  entire  organism   226 
manifest,  by    natural    signs,  the    intensity    and 
fervor  of  the  feeling. 

DOUGLAS  AND   JAMES. 

Then  clamour'd  loud  the  royal  train,  and  brandish'd  swords 
and  staves  amain.  But  stern  the  Baron's  warning  —  "Back! 
back,  on  your  lives,  ye  menial  pack !  Beware  the  Douglas.  — 
Yes!  behold,  King  James!  the  Douglas,  doom'd  of  old,  and 
vainly  sought  for  near  and  far,  a  victim  to  atone  the  war,  a 
willing  victim,  now  attends,  nor  craves  thy  grace  but  for  his 
friends." 

"  Thus  is  my  clemency  repaid?  presumptuous  Lord  I  '*  the 
monarch  said ;  "  Of  thy  misproud  ambitious  clan,  thou,  James  of 
Bothwell,  wert  the  man,  the  only  man,  m  whom  a  foe  my  woman- 
mercy  would  not  knowt  but  shall  a  Monarch's  presence  brook 
injm-ious  blow,  and  haughty  look?  —  What  ho,  the  Captain  of 
our  Guard !  Give  the  offender  fitting  ward,  —  break  off  the 
sports !  "  —  for  tumult  rose,  and  yeomen  'gan  to  bend  their 
bows,  —  "  break  off  the  sports !  "  he  said,  and  frown'd,  "  and 
bid  our  horsemen  clear  the  ground." 

Then  uproar  wild  and  misarray  marr'd  the  '"''  '~rm  of  festal 
day.  The  horsemen  prick'd  among  the  crowd  repell'd  by 
threats  and  insults  loud;  to  earth  are  borne  the  old  and  weak, 
the  timoroxis  fly^  the  women  shriek;  with  flint,  with  shaft,  with 


AcnoR  291 

staff,  with  bar,  the  hardier  iirge  tumultuous  war  At  once 
round  Douglas  darkly  sweep  the  royal  spears  in  circle  deep,  and 
slowly  scale  the  pathway  steep;  while  on  the  rear  in  thunder 
pour  the  rabble  with  disordered  roar.  With  grief  the  noble 
Douglas  saw  the  Commons  rise  against  the  law,  and  to  the 
leading  soldier  said,  —  "  Sir  John  of  Hynford  I  'twas  my  blade 
that  knighthood  on  thy  shoulder  laid ;  for  that  good  deed,  permit 
me  then  a  word  with  these  misguided  men. 

"  Hear,  gentle  friends  I  ere  yet  for  me  ye  break  the  bands  of 
fealty.  My  life,  my  honor,  and  my  cause,  I  tender  free  to  Scot- 
land's laws.  Are  these  so  weak  as  must  require  the  aid  of  your 
misguided  ire!  Or,  if  I  suffer  causeless  wrong,  is  then  my 
selfish  rage  so  strong,  my  sense  of  public  weal  so  low,  that,  for 
mean  vengeance  on  a  foe,  those  cords  of  love  I  should  unbind, 
which  knit  my  country  and  my  kind?  Oh  nol  Believe,  in 
yonder  tower  it  will  not  soothe  my  captive  hour,  to  know  those 
spears  our  foes  should  dread,  for  me  in  kindred  gore  are  red; 
to  know,  in  fruitless  brawl  begun,  for  me  that  mother  wails  her 
son*  for  me,  that  widow's  mate  expires;  for  me,  that  orphans 
weep  their  sires;  that  patriots  mourn  insulted  laws;  and  curse 
the  Douglas  for  the  cause.  0  let  your  patience  ward  such  ill, 
and  keep  your  right  to  love  me  still  I  " 

The  crowd's  wild  fury  sunk  again  in  tears,  as  tempests  melt 
in  rain.  With  lifted  hands  and  eyes,  they  pray'd  for  blessings 
on  his  generous  head,  who  for  his  country  felt  alone,  and  prized 
her  blood  beyond  his  own.  Old  men,  upon  the  verge  of  life, 
bless'd  him  who  staid  the  civil  strife;  and  mothers  held  their 
babes  on  high,  the  self-devoted  Chief  to  spy,  triumphant  over 
wrongs  and  ire,  to  whom  the  prattlers  owed  a  sire:  even  the 
rough  soldier's  heart  was  moved;  as  if  behind  some  bier  be- 
loved, with  trailing  arms  and  drooping  head,  the  Douglas  up  the 
hill  he  led,  and  at  the  Castle's  battled  verge  with  sighs  resign'd 
his  honour'd  charge. 

"  Lady  of  the  Lake."  SCOT! 


"  Joy  1  joy !  "  she  cried ;  "  my  task  is  done  - 
The  gates  are  passed,  and  heaven  is  won  1 " 


MOORR 


Romeo.  He  jests  at  scars,  that  never  felt  a  wound,  — 
(Juliel  appears  above  at  Iter  -unTtdow.) 
But  soft  I  what  light  through  yonder  window  breaks? 
It  is  the  East,  and  Juliet  is  the  Sun !  — 
Arise,  fair  Sim,  and  kill  the  envious  Moon. 

Give  a  speech  of  your  own,  after   deep  meditation 
and  thorough  preparation,  and  endeavor  to  touch     „„„ 
the  whole  nature  of  your  audience.     Endeavor 


292  FOUITOATIONS   OF   EXPRESSION 

genuinely  to  realize  the  depth  and  importance  of  the 
subject  and  note  the  effect  on  the  body. 

Action  is  the  expression  of  thought  and  emotion 
through  the  body.  It  appeals  to  the  eye,  and  is  the 
most  general  and  generic  of  languages.  The  highest 
action  is  that  which  is  most  manifestative  and  directly 
significant ;  the  weakest  is  representative,  or  that  which 
is  a  substitute  for  words. 

A  Gesture  is  significant  motion. 

An  Attitude  is  a  significant  or  expressive  position. 
It  is  directly  related  to  tone-color  and  also  to  intensity 
in  vocal  expression. 

Bearing  is  an  action  expressive  of  motives  and 
character.  It  is  directly  associated  with  expression  in 
union  with  texture  of  the  voice. 

Pantomimic  expression  is  Manifestative  when 
there  is  a  direct  and  spontaneous  tendency  of  emotion 
to  dominate  not  only  a  part  but  the  whole  of  the  body. 
Pantomimic  expression  is  Representative  when  any 
portion  of  the  body,  but  more  especially  the  hand  or 
arm,  is  used  to  describe  or  indicate  some  action.  Repre- 
sentative Pantomime  is  akin  to  words;  Manifestative 
Pantomime,  to  tone-colors. 


xxn. 

UNITY  OF  DELIVERY. 

The  leading  expressive  modulations  of  the  voice  are 
pause,  touch,  change  of  pitch,  inflexion,  tone-color, 
volume,  intensity,  and  movement.  There  may  be 
others,  but  we  have  certainly  found  these.  The  student 
must  be  able  to  make  practical  use  of  them  all  in  the 
expression  of  his  thoughts  and  feelings,  in  telling 
stories,  in  ordinary  conversations,  in  extemporaneous 
speaking,  and  in  expressive  reading. 

Such  short  lines,  sentences,  paragraphs,  or  poems 
have  been  given  as  are  especially  adapted  to  accentu- 
ate the  functions  of  some  one  of  these  modulations. 
Short  problems  in  conversation  and  speaking  have  also 
been  suggested  for  the  same  purpose.  We  must  not 
forget,  however,  that  the  elementary  modulations  of 
the  voice  are  always  necessarily  associated  with  each 
other.  Pause  implies  touch.  The  length  of  a  pause 
requires  a  corresponding  length  of  interval.  An  in- 
flexion may  be  given  to  one  word,  such  as  "  no,"  or 
"  yes,"  or  "  well " ;  but  the  natural  utterance  of  the 
shortest  sentence  requires  change  of  pitch  also.  Form 
may  be  used  alone  in  commonplace  speech,  but  the 
moment  imagination  and  feeling  are  awakened  tone- 
color  and  movement  become  necessary,  and  yet  their 
presence  does  not  interfere  with  form. 

In  adequate  expression  all  these  modulations  are 
present  in  organic  unity.  The  student  must  continu- 
ally recognize  delivery  as  the  expression  of  hfe,  and 
must  always  follow  analytic  study  with  synthetic  prac- 

293 


294  FOUNDATIONS  OF   EXPRESSION 

tice  of  all  elements  in  natural  union.  Especially  at 
the  close  of  these  studies  must  we  endeavor  to  reaUze 
the  vital  relations  of  all  the  voice  modulations  and  ele- 
ments of  delivery  to  each  other. 

Give   one    line    or  a    short    sentence    many  times, 
accentuating  successively  every  one  of  the  voice   ^no 
modulations  until  you  can  feel  and  command  its 
distinct  function. 

Joy  is  not  in  things;  it  is  in  us. 

I.  Transition.  One  method  of  testing  the  nature, 
function,  and  especially  the  relation  of  these  modula- 
tions to  each  other,  is  the  practice  of  sudden  changes 
or  transitions. 

A  pause  is  present  in  all  transitions,  because  it  sug- 
gests the  reception  of  a  new  impression,  and  a  transi- 
tion means  a  change  in  the  current  of  ideas.  Accord- 
ingly, in  addition  to  the  ordinary  pause  suggestive  of 
the  reception  of  an  impression,  and  the  emphatic  pause 
suggestive  of  the  holding  or  staying  of  an  idea  until  it 
is  received  by  another,  we  find  a  transitional  pause 
longer  still,  a  pause  due  to  the  realization  of  an  unex- 
pected or  unusual  change  in  thought,  situation,  or 
feeling. 

Change  of  pitch,  on  account  of  its  expressing  the 
discrimination  of  the  mind,  is  also  found  in  all  tran- 
sitions. When  ideas,  situations,  mental  pictures,  or 
emotions  undergo  transformation,  change  of  pitch 
necessarily  expresses  these  transitions,  and  change  in 
key  is  proportioned  to  the  extreme  character  of  the 
transition. 

Touch,  being  the  assertion  of  attention  and  the 
expression  of  will,  undergoes  less  change  than  any 
other  modulation.  Inflexion  reveals  a  change  in  the 
attitude  of  the  mind  from  doubt  to  certainty,  from 
seeking  to  finding,  from  unimportance  to  importance, 
ar  the  reverse.     It  is  often  used  also  in  direct  con- 


UNITY   OF   DELIVERY 


295 


trast  with  individual  words,  either  the  direction  or  the 
length  of  inflexion  changing.  At  times,  inflexions  may 
be  placed  in  different  pitches.  Change  of  pitch  is  a 
means,  in  this  case,  of  expressing  antithesis.  Length 
of  inflexion  changes  with  degrees  of  earnestness; 
abruptness,  with  degrees  of  excitement  or  control 
over  it. 

Volume,  expressing  demonstrativeness,  is  less  dig- 
nified. Though  change  in  volume  is  not  usually  so 
dramatic  as  other  variations  in  voice  modulations,  yet 
we  may  have  a  change  from  the  expression  of  frank- 
ness to  that  of  secrecy,  from  objectivity  to  subjectivity. 

Tone-color  changes  with  every  change  in  imagina- 
tion and  feehng.  Movement,  also,  as  it  expresses  life, 
is  variable  in  a  high  degree. 

No  modulation,  accordingly,  ever  stands  entirely 
alone  in  natural  speech.  The  union  of  modulations  is 
the  chief  characteristic  of  naturalness.  All  great 
transitions,  especially,  imply  a  co-ordination  and  union 
of  these  several  elements. 

Pause,  touch,  change  of  pitch  and  inflexion  are 
characteristic  of  every-day  conversation  in  business, 
on  the  street,  and  whenever  men  meet  on  an  imper- 
sonal plane.  Such  a  union  constitutes  commonplace 
"  emphasis,"  but  to  confine  all  work  for  deUvery  to 
these  will  degrade  poetry  to  common  prose. 

Tone-color  and  movement  express  the  spiritual, 
imaginative,  poetic,  lyric,  dramatic,  and  epic  actions 
of  the  mind.  They  are  felt  even  in  private  life  in 
moments  of  great  tenderness,  or  when  hearts  become 
sympathetically  related  to  each  other. 

As  genuine  relations  lead  naturally  to  poetry,  as  a 
deeper  love  for  one's  fellows  predominates  in  the 
heart,  the  voice  normally  responds,  varies  its  secondary 
vibrations  and  modulates  its  rhythm  to  express  those 
higher  experiences  and  attitudes  of  the  soul. 


2g6  FOUNDATIONS    OF   EXPRESSION 

We  should  study,  learn  by  heart,  and  express  by  the 
natural  languages  the  best  short  poems  in  liter-  ^qq 
ature,  and  observe  especially  the  presence  of  the 
higher  voice  modulations.     Note  in  the  following  the 
necessity  of  intensity,  tone-color,  and  movement. 

CROSSING  THE   BAR. 

Sunset  and  evening  star,  and  one  clear  call  for  me 
And  may  there  be  no  moaning  of  the  bar  when  I  put  out  to  sea, 
But  such  a  tide  as  moving  seems  asleep,  too  full  for  sound  and  foam, 
When  that  which  drew  from  out  the  boundless  deep  turns  again  home. 

Twilight  and  evening  bell,  and  after  that  the  dark ! 

And  may  there  be  no  sadness  of  farewell,  when  I  embark; 

For  tho'  from  out  oiu:  bourne  of  time  and  place  the  flood  may  bear  me 

far, 
I  hope  to  see  my  Pilot  face  to  face  when  I  have  crost  the  bar. 

TENNYSON. 

Note  the  impossibility  of  rendering  these  lines  with- 
out the  passional  modulation  of  movement.  Observe 
and  render  carefully  many  times  the  extreme  ^.^ 
transitions  in  the  fourth  line;  also  the  neces- 
sity for  changing  key,  color,  and  movement,  and  note 
that  the  higher  the  modulations,  the  greater  their 
change. 

Plunged  in  the  battery-smoke, 
Right  through  the  line  they  broke, 

Cossack  and  Russian 
Reeled  from  the  sabre-stroke. 

Shattered  and  sundered. 
Then  they  rode  back;  but  not  — 

Not  the  six  himdred. 

TENNYSON. 

2.  Harmony.  While  the  unification  of  all  the  modu- 
lations can  be  observed  in  sudden  transitions,  their 
co-ordination  is  best  expressed  in  the  harmonious 
interpretation  of  an  entire  poem.  All  are  present 
throughout,  but  every  now  and  then  we  find  one  accen- 
tuated in  order  more  definitely  to  interpret  or  accen- 
tuate some  one  action  of  the  mind  or  element  of  speech. 


UinXY   OF  DELIVERY  2g7 

Take,  for  example,  some  such  poem  as  Heber*s 
"  Spring  Journey."  As  we  read  it  over  we  may  first 
become  aware  of  the  existence  of  great  variations  of 
pitch  with  long  pauses,  and  that  each  pause  is  followed 
by  a  touch.  We  presently  find  that  we  fix  our  atten- 
tion upon  successive  objects,  —  a  mental  action  that 
directly  dominates  all  vocal  action  in  delivery.  The 
act  of  receiving  impressions  of  each  successive  idea 
causes  us  to  pause,  and  the  assertion  of  our  attention 
to  others  constitutes  touch.  We  discover  also,  in  pass- 
ing from  idea  to  idea,  a  decided  discrimination  in  the 
action  of  the  mind  and  this  causes  change  of  pitch. 

THE   SPRING   JOURNEY, 

0  green  was  the  corn  as  I  rode  on  my  way, 

And  bright  were  the  dews  on  the  blossoms  of  May, 
And  dark  was  the  sycamore's  shade  to  behold, 
And  the  oak's  tender  leaf  was  of  emerald  and  gold. 

The  thrush  from  his  holly,  the  lark  from  his  cloud, 
Their  chorus  of  rapture  sang  jovial  and  loud: 
From  the  soft  vernal  sky  to  the  soft  grassy  ground. 
There  was  beauty  above  me,  beneath,  and  around. 

The  mild  southern  breeze  brought  a  shower  from  the  hill, 
And  yet,  though  it  left  me  all  dripping  and  chill, 

1  felt  a  new  pleasure  as  onward  I  sped, 

To  ga^e  where  the  rainbow  gleamed  broad  overhead. 

O  such  be  Life's  journey,  and  such  be  our  skill. 

To  lose  in  its  blessings  the  sense  of  its  ill ; 

Through  sunshine  and  shower  may  our  progress  be  even. 

And  our  tears  add  a  charm  to  the  prospect  of  Heaven  I 

HEBER. 

When  rendering  the  entire  poem  we  find  that  the 
word  "  life  "  in  the  last  stanza  has  a  longer  inflexion, 
and  is  given  with  more  importance  than  any  other 
word  in  the  four  stanzas. 

Again,  no  matter  what  the  grammatical  structure 
may  be,  we  select  certain  centres  of  attention  and 
gather  the  words  in  groups  around  them.  Attention, 
for  example,  centres  on  "  sycamore  "  not  on  "  shade," 


298  FOUNDATIONS    OF    EXPRESSION 

on  "  oak  "  rather  than  "  its  tender  leaf,"  because  these 
words  are  essential.  The  touch  and  the  inflexion, 
accordingly,  come  upon  these  words  because  the  ideas 
they  name  are  central  in  the  mind. 

In  the  fifth  line  the  word  "  thrush  "  has  greater 
saUency  than  the  word  "  holly,"  the  word  "  lark " 
than  "  cloud."  Why?  Because  our  attention  is  fixed 
upon  the  "  thrush  "  and  "  lark "  rather  than  upon 
their  location.  Where  they  are  is  naturally  assumed. 
Every  mental  picture  must  have  unity.  By  emphasiz- 
ing all  four  words  the  passage  lacks  that  imity  which 
has  greatest  effect  upon  the  mind  of  the  listener. 

In  the  same  way,  the  word  "  beauty  "  is  more  impor- 
tant by  far  than  all  the  others  in  the  eighth  line.  There 
is  a  great  temptation  on  account  of  the  metric  move- 
ment to  slight  this  and  accent  both  "  beneath  "  and 
"  aroimd,"  but  when  the  reader  is  really  thinking  he 
asserts  the  word  "  beauty  "  as  the  centre  of  attention 
and  subordinates  the  rest  of  the  line. 

In  the  rendering  of  any  poem,  we  find,  accordingly, 
that  there  is  not  merely  a  sequence  of  attention  and  of 
ideas  to  be  considered,  but  that  certain  ideas  are  intro- 
duced with  great  saliency.  "  Beauty "  is  the  key 
word  and  interprets  the  first  half  of  the  poem. 

Similarly,  in  the  next  stanza  there  is  coloring  of  the 
voice  showing  the  impression  received  from  the  shower 
and  the  playful  enjoyment,  and  a  strong,  logical  in- 
flexion on  "  new  "  and  "  rainbow."  These  inflexions 
are  necessary  and  not  at  all  antagonistic  to  the  imagi- 
native and  emotional  coloring  of  the  voice  expressing 
feeUng.  The  last  stanza  takes  us  from  the  literal 
journey  to  that  of  life.  There  is  a  change  of  key,  a 
change  of  tone-coloring,  and  above  all,  a  change  of 
movement  to  suggest  the  deeper  thought.  But  we  have 
also  a  longer  inflexion  upon  the  word  "  life  "  which 
introduces  to  us  the  closing  theme.    Examination  of 


UNITY    OF    DELIVERY 


299 


the  poem  reveals  the  fact  that  all  the  modulations  are 
necessary  to  each  other.  Each  one  may  be  used  for 
emphasis  of  some  theme  or  plane  of  mental  or  emo- 
tion action.  The  art  of  the  reader  or  speaker  consists 
in  the  power  to  accentuate  some  one  of  these  modula- 
tions, while  at  the  same  time  bringing  them  all  into 
unity. 

The  student  should  very  carefully  examine  some 
noteworthy  poem,  such  as  Tennyson's  "  Charge  of  the 
Light  Brigade."  Observe  the  necessary  unity  of  -„^ 
the  whole,  and  that  while  every  part  is  expressed 
with  its  own  deep  meaning,  yet  all  the  contrasts,  oppo- 
sitions, and  changes  in  movement  have  a  certain  rela- 
tion to  the  spirit  of  the  whole. 

CHARGE   OF   THE   LIGHT   BRIGADE. 

Half  a  league,  half  a  league,  half  a  league  onward,  all  in  the 
valley  of  death  rode  the  six  hundred.  "  Forward,  the  Light 
Brigade!  Charge  for  the  guns!  "  he  said.  Into  the  valley  of 
Death  rode  the  six  hundred. 

"  Forward,  the  Light  Brigade!  "  Was  there  a  man  dismayed? 
Not  though  the  soldiers  knew  some  one  had  blundered !  Theirs 
not  to  make  reply ;  theirs  not  to  reason  why ;  theirs  but  to  do  and 
die ;  into  the  valley  of  Death  rode  the  six  hundred. 

Cannon  to  right  of  them,  cannon  to  left  of  them,  cannon  in 
front  of  them  volleyed  and  thundered:  stormed  at  with  shot  and 
shell,  boldly  they  rode  and  well;  into  the  jaws  of  death,  into  the 
mouth  of  Hell,  rode  the  six  hundred. 

Flashed  all  their  sabres  bare,  flashed  as  they  turned  in  air, 
sabring  the  gunners  there,  charging  an  army,  while  ail  the  world 
wondered!  Plunged  in  the  battery-smoke,  right  through  the 
line  they  broke,  Cossack  and  Russian  reeled  from  the  sabre-stroke, 
shattered  and  sundered.  Then  they  rode  back;  but  not  —  not 
the  six  hundred. 

Cannon  to  right  of  them,  cannon  to  left  of  them,  cannon  be- 
hind them  volleyed  and  thundered:  stormed  at  with  shot  and 
shell,  while  horse  and  hero  fell,  they  that  had  fought  so  well  came 
through  the  jaws  of  Death  back  from  the  mouth  of  Hell,  all  that 
was  left  of  them  —  left  of  six  hundred. 

When  can  their  glory  fade?  O  the  wild  charge  they  made' 
All  the  world  wondered.  Honor  the  charge  they  made  1  Hono! 
the  Light  Brigade,  —  noble  six  hundred. 

TENNYSON. 


300 


FOUNDATIONS   OF    EXPRESSION 


Note  the  repetition,  the  continuity  of  the  rhythm 
suggesting  intense  amazement  at  the  great  danger, 
the  neutral  command  that  acts  as  a  formal  and  intel- 
lectual accent  over  against  the  deep  sympathy  and  sense 
of  danger. 

Observe  in  the  second  stanza  the  repetition  of  this 
command,  and  then  the  intense  questions  with  strong 
inflexions  upon  "  man "  and  "  know."  Notice  the 
excited  movement  expressing,  with  great  intensity,  the 
reader's  identification  with  the  scene.  Observe  also, 
the  long  falUng  inflexion  upon  "  do,"  and  not  upon 
"  die."  It  was  not  their  duty  to  die,  but  to  do,  and 
die  if  necessary.  Notice  the  intense  touch  that  is 
necessary  on  all  important  words. 

The  excitement  cannot  be  shown  by  hurry  but  only 
by  energy  in  pulsations.  Life  is  always  expressed  by 
rhythm. 

Observe  that  the  word  "  hell,"  if  spoken  intellectu- 
ally and  indifferently,  sounds  profane.  It  must  seem 
to  be  the  one  inevitable  word  to  express  the  awfulness 
of  the  situation.  It  is  profane  to  use  words  without 
justifying  them  by  experience.  The  next  line  refers 
to  the  actual  conflict,  and  the  excitement  increases  and 
becomes  intensified.  The  very  movement  of  the  sabres 
is  felt  by  the  reader.  Then  comes  the  first  great  transi- 
tion, —  intense  pathos  after  a  long  pause,  with  change 
of  key,  movement,  and  color. 

Then  they  rode  back  ;  but  not — 
Not  the  six  hundred. 

The  excitement  is  repeated  with  some  modification 
in  describing  the  return,  and  a  deeper  and  more  intense 
transition  follows  at  the  close.  The  last  stanza  must 
be  given  slowly  and  with  dignity.  There  must  be  no 
pity  expressed,  but  depth  of  sympathy  and  admiration 
of  the  heroes. 


UHITY   OF  DELIVERY  3OI 

Render  poems  or  stories  giving  definite  character  to 
every  part,  but  accentuating  such  transitions  and  „„„ 
contrasts  as  will  bring  the  whole  into  unity. 

THE  RETURN  OF  THE  SWALLOWS. 

"  Out  in  the  meadows  the  young  grass  springs, 

Shivering  with  sap,"  said  the  larks,  "  and  we 
Shoot  into  air  with  our  strong  young  wings, 

Spirally  up  over  level  and  lea ; 
Come,  O  Swallows,  and  fly  with  us, 
Now  that  horizons  are  luminous ! 

Evening  and  morning  the  world  of  light. 

Spreading  and  kindling,  is  infinite  1  " 

Far  away,  by  the  sea  in  the  south, 

The  hills  of  olive  and  slopes  of  fern 
Whiten  and  glow  in  the  sun's  long  drouth, 

Under  the  heavens  that  beam  and  biu"n; 
And  all  the  swallows  were  gathered  there 
Flitting  about  in  the  fragrant  air, 

And  heard  no  sound  from  the  larks,  but  flew 

Flashing  under  the  blinding  blue. 

Out  of  the  depths  of  their  soft  rich  throats 

Languidly  fluted  the  thrushes,  and  said: 
"  Musical  thought  in  the  mild  air  floats. 

Spring  is  coming  and  winter  is  dead ! 
Come,  O  Swallows,  and  stir  the  air. 
For  the  buds  are  all  bursting  unaware, 

And  the  drooping  eaves  and  the  elm-trees  long 

To  hear  the  sound  of  your  low  sweet  song." 

Over  the  roofs  of  the  white  Algiers, 

Flashingly  shadowing  the  bright  bazaar, 
Flitted  the  swallows,  and  not  one  hears 

The  call  of  the  thrushes  from  far,  from  far: 
Sighed  the  thrushes;  then,  all  at  once. 
Broke  out  singing  the  old  sweet  tones,  — 

Singing  the  bridal  of  sap  and  shoot. 

The  tree's  slow  life  between  root  and  fruit. 

But  just  when  the  dingles  of  April  flowers 

Shine  with  the  earliest  daffodils, 
When,  before  sunrise,  the  cold  clear  hours 

Gleam  with  a  promise  that  noon  fulfils,  — 
Deep  in  the  leafage  the  cuckoo  cried, 
Perched  on  a  spray  by  a  rivulet-side, 

"Swallows,  O  Swallows,  come  back  again 

To  swoop  and  herald  the  April  rain." 


302  FOUNDATIONS  OF    EXPRESSION 

And  something  awoke  in  the  slumbering  heart 

Of  the  alien  birds  in  their  African  air, 
And  they  paused,  and  alighted,  and  twittered  apart, 

And  met  in  the  broad  white  dreamy  square ; 
And  the  sad  slave  woman,  who  lifted  up 
From  the  fountain  her  broad-lipped  earthen  cup. 

Said  to  herself,  with  a  weary  sigh, 

"To-morrow  the  swallows  will  northward  fly  I  " 

EDMUND  WILLIAM  GOSSE 

THE   SONG   OF   THE   CAMP. 

"  Give  us  a  song!"  the  soldiers  cried,  the  outer  trenches  guard- 
ing, when  the  heated  guns  of  the  camps  allied  grew  weary  of 
bombarding.  The  dark  Redan,  in  silent  scoff,  lay  grim  and 
threatening,  under;  and  the  tawny  mound  of  the  Malakoff  no 
longer  belched  its  thunder. 

There  was  a  pause.  A  guardsman  said:  "  We  storm  the 
forts  to-morrow;  sing  while  we  may,  another  day  will  bring 
enough  of  sorrow."  They  lay  along  the  battery's  side,  below 
the  smoking  cannon;  brave  hearts,  from  Severn  and  from  Clyde, 
and  from  the  banks  of  Shaimon.       

They  sang  of  love  and  not  of  fame;  forgot  was  Britain's  glory; 
each  heart  recalled  a  different  name,  but  all  sang  "Annie  Laurie." 
Voice  after  voice  caught  up  the  song,  until  its  tender  passion 
rose  like  an  anthem,  rich  and  strong, — their  battle-eve  confession. 
Dear  girl,  her  name  he  dared  not  speak,  but,  as  the  song  grew 
louder,  something  upon  the  soldier's  cheek  washed  off  the 
stains  of  powder. 

Beyond  the  darkening  ocean  burned  the  bloody  sunset's 
embers,  while  the  Crimean  valleys  learned  how  English  love 
remembers.  And  once  again  a  fire  of  hell  rained  on  the 
Russian  quarters,  with  scream  of  shot,  and  burst  of  shell,  and 
bellowing  of  the  mortars !  And  Irish  Nora's  eyes  are  dim  for  a 
singer,  dumb  and  gory ;  and  English  Mary  mourns  for  him  who 
sang  of  "  Annie  Laturie." 

Sleep,  soldiers !  still  in  honored  rest  your  truth  and  valor  wear- 
ing: the  bravest  are  the  tenderest,  —  the  loving  are  the  daring. 

BAYARD  TAYLOR. 

This  principle  of  unity  and  harmony  is  seen  also  in 
public  speaking.  Observe  how  Beecher,  in  the  follow- 
ing extract,  introduces  "  the  sun  "  with  a  long  inflexion. 
In  the  next  clause  he  pictures  the  "  pine  upon  the 
mountain  top "  and  its  exclamation.  Then  notice 
another  long  inflexion  on  the  "  meadow  violet "  with 
a  simultaneous  change  in  quality  and  rhythm.    Next 


UNITY  OF   DELIVERY  303 

observe  the  "  grain  "  as  introduced  with  another  fall- 
ing inflexion,  while  there  is,  at  the  same  time,  a  dif- 
ferent movement,  color,  and  texture  of  the  whole. 
Then  follows  a  long  pause.  So  far,  all  is  illustration. 
But  while  each  picture  has  been  painted  definitely  in 
its  own  phase  of  experience,  there  is  now  an  application 
of  the  meaning  of  these  pictures.  After  the  long 
pause  notice  the  strong  emphasis  on  the  word  "  God," 
also  on  "  universe  of  life,"  and  the  climax  in  the  last 
clause.  To  render  such  passages  as  mere  successions 
of  ideas,  without  direct  contrast  or  transitions  in  feel- 
ing, in  rhythmic  movement,  and  color,  is  to  lose  all  the 
force  and  power  of  the  passage. 

The  sun  does  not  shine  for  a  few  trees  and  flowers,  but  for  the 
wide  world's  joy.  The  lonely  pine  upon  the  mountain-top 
waves  its  sombre  boughs,  and  cries,  "  Thou  art  my  sun."  And 
the  little  meadow  violet  lifts  its  cup  of  blue,  and  whispers  with  its 
perfumed  breath,  "  Thou  art  my  sun."  And  the  grain  in  a 
thousand  fields  rustles  in  the  wind,  and  makes  answer,  '*  Thou 
art  my  sun."  And  so  God  sits  effulgent  in  Heaven,  not  for  a 
favored  few,  but  for  the  universe  of  life;  and  there  is  no  creature 
so  poor  or  so  low  that  he  may  not  look  up  with  child-like  con- 
fidence and  say,  "  My  Father!  Thou  art  mine." 

BEECHER. 

Speakers  should  study  poems  containing  in  short 
space  and  intensive  form  the  deep  life  of  the  heart  with 
sudden  contrasts  and  variations.  The  same  actions  of 
the  mind  are  found  in  the  expression  of  great  eloquence. 
When  a  speaker  eliminates  imagination  and  feeling  he 
becomes  commonplace,  and  his  ideas  and  words  fail 
to  move  his  fellows.  The  difference  between  the 
highest  poetry  and  the  highest  eloquence  is  a  slight 
difference  of  form  rather  than  of  spirit.  According  to 
Palgrave,  the  highest  poetry  has  a  certain  uniformity, 
and  the  same  is  true  of  eloquence.  It  is  on  the  lower 
planes  that  there  are  great  variations  in  degree  of  excel- 
lence. The  same  principle  applies  also  to  delivery. 
On  the  highest  plane  all  the  elements  blend  and  har- 


304  FOUNDATIONS  OF   EXPRESSION 

monize,  there  is  the  simplicity  and  naturalness  of  life 
itself.  When  human  realization  becomes  true  it  be- 
comes exalted,  simple,  and  suggestive. 

Into  the  woods  my  Master  went, 

Clean  forspent,  forspent, 

Into  the  woods  my  Master  came, 

Forspent  with  love  and  shame. 

But  the  olives  they  were  not  blind  to  Him 

The  little  gray  leaves  were  kind  to  Him 

The  thorn  tree  had  a  mind  to  Him 

When  into  the  woods  He  came. 

Out  of  the  woods  my  Master  went, 

And  He  was  well  content. 

Out  of  the  woods  my  Master  came 

Content  with  death  and  shame. 

When  Death  and  Shame  would  woo  Him  last, 

From  under  the  trees  they  drew  Him  last; 

'Twas  on  a  tree  they  slew  Him  last 

When  out  of  the  woods  He  came. 

•  A  Ballad  of  Trees  and  the  Master."  SIDNEY  LANIER. 

Study  carefully  some  speech  and   note  the  distinct 
functions   of   the   various    modulations    of   the  „.. 
voice  needed  to  express  its  thoughts  and  feeling. 


DEDICATION  OF   GETTYSBURG   CEMETERY. 

Fourscore  and  seven  years  ago,  our  fathers  brought  forth  upon 
this  continent  a  new  nation,  conceived  in  liberty  and  dedicated  to 
the  proposition  that  all  men  are  created  equal.  Now  we  are  en- 
gaged in  a  great  civil  war,  testing  whether  that  nation  — ■  or  any 
nation  so  conceived  and  so  dedicated  —  can  long  endure. 

We  are  met  on  a  great  battle-field  of  that  war.  We  are  met 
to  dedicate  a  portion  of  it  as  the  final  resting-place  of  those  who 
have  given  their  lives  that  that  nation  might  live.  It  is  alto- 
gether fitting  and  proper  that  we  should  do  this. 

But,  in  a  larger  sense,  we  cannot  dedicate,  we  cannot  conse- 
crate, we  cannot  hallow,  this  ground.  The  brave  men,  living 
and  dead,  who  struggled  here,  have  consecrated  it,  far  above 
our  power  to  add  or  to  detract.  The  world  will  very  little  note 
nor  long  remember  what  we  say  here;  but  it  can  never  forget 
what  they  did  here. 

It  is  for  us,  the  living,  rather,  to  be  dedicated  here,  to  the  un- 
finished work  they  have  thus  far  so  nobly  carried  on.  It  is 
rather  for  us  to  be  here  dedicated  to  the  great  task  remaining 


UNITY   OF  DELIVERY  305 

before  tis;  that  from  these  honored  dead  we  take  increased 
devotion  to  that  cause  for  which  they  here  gave  the  last  full 
measure  of  devotion;  that  we  here  highly  resolve  that  these  dead 
shall  not  have  died  in  vain;  that  the  nation  shall,  under  God, 
have  a  new  birth  of  freedom,  and  that  government  of  the  people, 
by  the  people,  and  for  the  people,  shall  not  perish  from  the  earth. 

LINCOLN. 

O   CAPTAIN!   MY   CAPTAIN! 

O  Captain !  my  Captain !  our  fearful  trip  is  done, 
The  ship  has  weathere'd  every  rack,  the  prize  we  sought  is  won. 
The  port  is  near,  the  bells  I  hear,  the  people  all  exulting, 
While  follow  eyes  the  steady  keel,  the  vessel  grim  and  daring; 

But  O  heart!  heart!  heart! 

O  the  bleeding  drops  of  red, 

"Where  on  the  deck  my  Captain  lies, 

Fallen  cold  and  dead. 

O  Captain!  my  Captain!  rise  up  and  hear  the  bells; 

Rise  up  —  for  you  the  flag  is  flung  —  for  you  the  bugle  trills, 

For  you  bouquets  and  ribboned  wreaths  —  for  you  the  shores 

a  crowding. 
For  you  they  call,  the  swaying  mass,  their  eager  faces  tiu-ning; 

Here  Captain!  dear  father! 

This  arm  beneath  your  headl 

It  is  some  dream  that  on  the  deck 

You've  fallen  cold  and  dead. 

My  Captain  does  not  answer,  his  lips  are  pale  and  still, 
My  father  does  not  feel  my  arm,  he  has  no  pulse  nor  will, 
The  ship  is  anchored  safe  and  sound,  its  voyage  closed  and  done, 
From  fearful  trip  the  victor  ship  comes  in  with  object  won; 

Exult,  O  shores,  and  ring  O  bells! 

But  I,  with  mournful  tread, 

Walk  the  deck  my  Captain  lies, 

Fallen  cold  and  dead. 

WALT  WHITMAN 

THE   DEATH    OF   LINCOLN. 

Even  he  who  now  sleeps  has,  by  this  event,  been  clothed  with 
new  influence.  Dead,  he  speaks  to  men  who  now  willingly 
hear  what  before  they  refused  to  listen  to.  Now  his  simple  and 
weighty  words  will  be  gathered  like  those  of  Washington;  and 
your  children  and  your  children's  children  shall  be  taught  to 
ponder  the  simplicity  and  deep  wisdom  of  utterances  which,  in 
their  time,  passed,  in  parly  heat,  as  idle  words.  Men  will 
receive  a  new  impulse  of  patriotism  for  his  sake,  and  will  guard 
with  zeal  the  whole  country  which  he  loved  so  well. 

They  will  admire  and  imitate  the  flrmness  of  this  man,  his 
inflexible  conscience  for  the  right,  and  yet  his  gentleness,  o» 


3o6 


FOUNDATIONS  OF   EXPRESSION 


tender  as  a  woman's,  his  moderation  of  spirit,  which  not  all  the 
heat  of  party  could  inflame,  nor  all  the  jars  and  disturbances 
of  this  country  shake  out  of  its  place.  I  swear  you  to  an  emu- 
lation of  his  justice,  his  moderation,  and  his  mercy.  Dead, 
dead,  dead,  he  yet  speaketh. 

Is  Washington  dead?  Is  Hampden  dead?  Is  David  dead? 
Is  any  man  that  ever  was  fit  to  live  dead?  Disenthralled 
of  flesh,  and  risen  in  the  unobstructed  sphere  where  passion 
never  comes,  he  begins  his  illimitable  work.  His  life  now  is 
grafted  upon  the  infinite,  and  will  be  fruitful  as  no  earthly  life 
can  be.     Pass  on,  thou  that  hast  overcome ! 

Your  sorrows,  C  people,  are  his  peace !  Yovur  bells,  and  bands, 
and  muflied  drums  sound  triumph  in  his  ear  Wail  and  weep 
here ;  God  makes  its  echo  joy  and  triumph  there.     Pass   on ! 

Four  years  ago,  O  Illinois  I  we  took  from  your  midst  an  untried 
man,  and  from  among  the  people.  We  retiurn  him  to  you  a 
mighty  conqueror.  Not  thine  any  more,  but  the  nation's; 
not  ours  but  the  world's.     Give  him  place,  O  ye  prairies ! 

In  the  midst  of  this  great  continent  his  dust  shall  rest,  a  sacred 
treasure  to  myriads  who  shall  pilgrim  to  that  shrine  to  kindle 
anew  their  zeal  and  patriotism.  Ye  winds  that  move  over 
the  mighty  places  of  the  West,  chant  his  requiem  I  Ye  people, 
behold  a  martyr  whose  blood,  as  so  many  articulate  words, 
pleads  for  fidelity,  for  law,  for  liberty  I 

HENRY  WARD  BEECHER. 

PARABLE   OF  THE   FATHER. 

A  certain  man  had  two  sons :  and  the  younger  of  them  said  to 
his  father,  Father,  give  me  the  portion  of  thy  substance  that 
falleth  to  me.  And  he  divided  unto  them  his  living.  And  not 
many  days  after  the  younger  son  gathered  all  together  >  and  took 
his  journey  into  a  far  country;  and  there  he  wasted  his  substance 
with  riotous  living.  And  when  he  had  spent  all,  there  arose  a 
mighty  famine  in  that  country;  and  he  began  to  be  in  want. 
And  he  went  and  joined  himself  to  one  of  the  citizens  of  that 
country;  and  he  sent  him  into  his  fields  to  feed  swine.  And 
he  would  fain  have  been  filled  with  the  husks  that  the  swine  did 
eat ;  and  no  man  gave  unto  him.  But  when  he  came  to  himself 
he  said,  How  many  hired  servants  of  my  father's  have  bread 
enough  and  to  spare,  and  I  perish  here  with  hunger!  I  will 
arise  and  go  to  my  father,  and  I  will  say  unto  him.  Father^  I 
have  sinned  against  heaven,  and  in  thy  sight:  I  am  no  more 
worthy  to  be  called  thy  son:  make  me  as  one  of  thy  hired  ser- 
vants. And  he  arose,  and  came  to  his  father.  But  while  he 
was  yet  afar  off,  his  father  saw  him,  and  was  moved  with  com- 
passion, and  ran,  and  fell  on  his  neck,  and  kissed  him.  And  the 
son  said  unto  him.  Father,  I  have  sinned  against  heaven,  and  in 


mnXY   OF  DELIVERY  TpJ 

thy  sight:  I  am  no  more  worthy  to  be  called  thy  son.  But  the 
father  said  to  his  servants,  Bring  forth  quickly  the  best  robe, 
and  put  it  on  him;  and  put  a  ring  on  his  hand,  and  shoes  on  his 
feet:  and  bring  the  fatted  calf,  and  kill  it,  and  let  us  eat,  and 
make  merry:  for  this  my  son  was  dead,  and  is  alive  again;  he 
was  lost,  and  is  found.     And  they  began  to  be  merry. 

Now  his  elder  son  was  in  the  field:  and  as  hp  came  and  drew 
nigh  to  the  house,  he  heard  music  and  dancing.  And  he  called  to 
him  one  of  the  servants,  and  inquired  what  these  things  might  be. 
And  he  said  unto  him,  Thy  brother  is  come ;  and  thy  father  hath 
killed  the  fatted  calf,  because  he  hath  received  him  safe  and 
sound.  But  he  was  angry  and  would  not  go  in;  and  his 
father  came  out  and  entreated  him.  But  he  answered  and  said 
to  his  father,  Lo,  these  many  years  do  I  serve  thee,  and  I 
never  transgressed  a  commandment  of  thine:  and  yet  thou  never 
gavest  me  a  kid,  that  I  might  make  merry  with  my  friends: 
but  when  this  thy  son  came,  which  hath  devoured  thy  living  with 
harlots,  thou  killedst  for  him  the  fatted  calf.  And  he  said  unto 
him.  Son,  thou  art  ever  with  me,  and  all  that  is  mine  is  thine. 
But  it  was  meet  to  make  merry  and  be  glad :  for  this  thy  brother 
was  dead,  and  is  alive  again;  and  was  lost,  and  is  found. 


A  machine  is  constructed;  a  part  can  be  removed 
and  a  new  one  substituted.  An  organism  is  not  built 
but  must  grow.  Back  of  the  budding  leaf  there  must 
be  life,  not  merely  in  the  twig,  but  in  the  whole  tree. 
So  delivery  is  the  revelation  of  man's  life  through  his 
organism. 

A  mere  local  manipulation,  a  mere  application  of  a 
rule  to  some  little  inflexion,  change  of  pitch,  or  gesture 
will  produce  one-sidedness.  All  true  modulations  of 
the  voice  or  body  are  natural  signs.  With  every  move- 
ment of  the  hand,  every  inflexion,  every  pause,  or 
change  of  pitch,  there  are  simultaneous  elements 
almost  innumerable  through  the  whole  body,  which 
also  bear  witness  to  the  inner  life. 

The  development  of  delivery  is  the  renewal  of  life, 
the  awakening  of  deeper  energy,  and  its  diffusion 
through  the  whole  man.  Accordingly,  delivery  is 
natural,  and  is  developed  not  by  exaggerating  some  one 
element,  but  by  the  accentuation  and  union  of  all. 


3o8  FOUITOATIONS  OF  EXPRESSION 

Nothing  in  the  development  of  delivery  can  compensate 
for  genuineness  of  thinking  and  feeling.  The  student 
must  live  his  truth  before  he  gives  it.  In  proportion  as 
he  lives  it  will  he  use  pause,  touch,  change  of  pitch, 
inflexion,  variation  of  movement,  degrees  of  force  and 
modulation  of  the  sympathetic  vibrations  of  his  tone; 
his  face  will  kindle,  his  whole  body  will  expand,  and 
others  will  feel  that  his  whole  being  and  body  are  alive. 

The  improvement  of  delivery  is  a  serious  problem. 
It  implies  deep  self-study.  It  requires  command  over 
thinking,  power  to  concentrate  attention,  to  imagine 
and  to  feel.  It  requires  the  co-ordination  of  the  con- 
scious and  the  unconscious,  control  of  the  voluntary 
and  spontaneous  activities,  not  only  of  the  powers  of 
being,  but  of  all  parts  of  the  body  and  organs  of  the 
voice.  While  it  is  necessary  to  understand  each  little 
conscious,  deliberative  act,  it  is  also  necessary  to  recog- 
nize that  there  are  ten  times  as  many  involuntary 
elements  which  must  spontaneously  respond  to  the 
inner  life.  If  we  do  our  little  tenth,  the  other  nine- 
tenths  spring  freely  into  co-operation;  but  there  must 
be  no  repression  or  constriction  that  will  interfere  with 
these  spontaneous  activities. 

We  cannot  reduce  the  length  or  the  degree  of  abrupt- 
ness of  an  inflexion  to  rule,  nor  can  we  indicate  exactly 
how  long  a  pause  must  be  or  how  wide  an  interval,  nor 
can  tone-color  and  movement  be  regulated  by  mechan- 
ical rules,  but  all  must  obey  deep  principles.  All  the 
modulations  of  the  voice  increase  according  to  the 
degree  of  earnestness,  and  while  each  has  a  specific 
meaning  which  must  be  defined,  true  expression  re- 
sults from  a  simultaneous  union  and  natural  co-ordi- 
nation of  innumerable  elements  even  in  the  simplest 
act  of  speech. 

Yet  while  there  are  certain  fimdamental  elements 
common  to  all  men,  there  are  also  certain  personal  and 


UWITY  OF   DELIVERY  JOQ 

Spontaneous  variations  peculiar  to  every  individual. 
The  student  must  be  himself;  he  must  obey  his  own 
instincts.  All  his  work,  all  his  knowledge  of  the 
elements  of  delivery  must  become  a  matter  of  intuition. 
He  must  be  able  to  dominate  his  attention  and  yet 
contemplate  a  truth  until  his  enthusiasm  awakens, 
and,  while  consciously  holding  and  emphasizing  fun- 
damentals, must  give  himself  up  freely  to  his  own 
awakened  Ufe. 

"  All  art  is  play  reduced  to  order."  There  must  be 
play  and  enthusiasm,  that  is,  spontaneous  energy  and 
feeling.  The  true  development  of  delivery  depends 
upon  the  awakening  of  man's  faculties,  contemplation 
of  the  world,  and  a  truer  obedience  to  the  highest  ideals 
and  deepest  dreams  of  life.  Delivery  is  the  liberation 
of  thought  and  emotion;  it  is  the  giving  of  form  to 
aspiration  and  feeling.  A  true  study  of  delivery  is  the 
highest  means  of  discovering  man's  hidden  power. 
"  All  education  is  emancipation ;  "  but  this  is  espe- 
cially true  of  delivery.     To  express  is  to  set  free. 

Every  plant  may  sleep  through  the  winter,  but  even 
a  weed  will  die  unless  it  pierces  the  mould  and  puts 
forth  its  leaves  to  meet  the  sun.  Without  expression 
there  is  no  life.  Man's  faculties  and  powers  are  hemmed 
in  and  constricted  if  his  delivery  is  poor.  The  child 
is  retarded  in  its  development  if  there  is  any  fettering 
of  its  hands.  On  the  contrary,  to  give  the  faculties 
of  man  spontaneous  expression  and  freedom,  to  use  the 
living  voice  and  body  as  a  living  organism,  to  reveal 
by  natural  and  direct  signs  the  inner  life,  is  to  deepen 
and  quicken  that  life,  to  stimulate  every  faculty,  and 
to  develop  human  power. 


INDEX 

Short  passages  and  extracts  are  referred  to  by  (ex.). 


Accentuation,  225,  226. 
Accidentals  and  fundamentals,  16. 
Action,    273-292. 

different    meaning   from  tone,  9, 

10,  274. 
importance     of,     273-275;     how 

improved,  275. 
Actions,  conscious  and  unconscious, 

137. 
Adams,  Sarah  Flower,  Bethel,  100. 
Admiral's  Grave,  The,  166. 
Agility  of  Voice,  123-134,  238. 
inflexional,    127,  128,   134;   inter- 

vallic,  126,  127. 
Ah  I  my  heart,  Dennis  F.  McCarthy, 

i9i. 
"Ah,"   problems    on,  Tipperary,  74, 

75 ;  Ah,  April,  84. 
Ah,  well!  for  us  all,  Whittier,  160. 
Aldrich,  Anne  Reeve,  Little  Parable, 

125. 
Aldrich,  Thomas  Bailey,  Appreciation, 

29;  Guilielmus    Rex,   114;   Re- 

contre,  332. 
Alger,   W.    R.,    When    Jacques    de 

Molay  (ex.),  36. 
Art  defined,  153. 
Articulation,  193-200. 
All    hail    the    power,   E.    Perronet, 

165. 
Allin^liam,  William,  Summer  Time, 

t99. 
Antiv^'tsis,  106. 
Apperception,  143. 
Appreciation,  Aldrich,  29. 
April,  William  Morris,  172. 
Arabian  proverb,  Men  are  Four,  160. 
ArnJt,  M.  £.,  Wherever,  O  man,  28. 
Anist,  The,  153. 

Arrow  and  Song,  Longfellow,  104. 
Artistic  spontaneity,  138. 
A  song,  oh  a  song,  162. 
Assimilation  and  Sympathy,  239-260. 
Attention,  first  step  in  expression,  20. 
Attitude  and  gesture,  276. 
Attitude  of  mind  and  inflexion,  49-60. 


At  the  Grave's  Edge,  Henry  Fletcher 

Harris,  212. 
At  twilight  on  the  open  sea,  Tabb,  26. 
Aytoun,     By    the    God    that    made 

thee,  13;  Now,  by  my  faith,  58. 

Background  of  Mystery,  Beecher, 
120. 

Bailey,  Phillip  James,  We  live  in 
deeds,  not  years  (ex.),  52. 

Ballad  of  the  Road,  Constance  D'Arcy 
Mackay,  i9i. 

Banks,  I  live  for  those  (ex.),  54. 

Bashford,  Herbert,  Mount  Rainier, 
164. 

Battle-field,  Emily  Dickinson,  52. 

Bear  up,  old  friend,  215. 

Beecher,  Henry  Ward,  Back-ground 
of  mystery,  120;  Death  of  Lin- 
coln, 305;  No  man  can  accom- 
plish (ex. ),  1 1 5 ;  The  sun  does  not 
shine  (ex.),  303;  Truth  alone  is 
not  suflScient  (ex.),  235;  Where 
there  is  love  (ex.),  128. 

Before  Sedan,  Dobson,  242. 

Before  Sunrise  in  Winter,  Edward 
R.  Sill,  133- 

Being  above  all  beings  (ex.),  167. 

Bell,  Prof.  Alexander  Melville,  on 
Vowels,  193. 

Bethel,  Adams,  100. 

Bird  Raptures,  Christina  Georgina 
Rossetti,  80. 

Bird  Thoughts,  134. 

Bjornson,  B.,  The  tree's  leafy  buds, 
47. 

Blake,  William,  A  Laughing  Song,  77. 
And  did  those  feet,  95. 
Thompson's  poem  on,  117. 

Blackbird,  The,  Henley,  22. 

Blessings  on  thee,  little  man  (ex.), 
Whittier,  47. 

Body,  expansion  of,  9o;  elevation 
and  centrality  of,  9i. 

Book,  A,  Emily  Dickinson,  12. 

Books  give  to  all  (ex.),  161. 


3" 


312 


i]in)EX 


Bourdillon,  Francis  W,,  Light,  105. 

Branch,  Mary  BoUes,  Petrified  Fern, 
207. 

Breathing,  correct  method  of,  76; 
laughter  in,  77;  problem  on 
centrality  of,  78-80;  retention 
of,  79;  rhythm  of,  81. 

Bridges,  Madeline  S.,  Life's  Mirror, 
41. 

Brook,  The,  Tennyson,  174. 

Brooklet,  The,  Longfellow,  17. 

Browning,  Elizabeth  Barrett,  Noth- 
ing's small  (ex.),  34;  0,  the 
little  birds  (ez.),  I79. 

Browning,  Robert,  At  the  Mermaid 
(ex.),  49;  I  go  to  prove  my 
soul  (ex.),  116;  I  sprang  to  the 
stirrup  (ex.),  232;  Kentish,  Sir 
Byng  (ex.),  55;  Memorabilia, 
59;  See  the  noble  fellow's  face 
(ex.),  162;  The  Patriot,  254. 

Bruce's  Address  at  Bannockburn, 
Bums,  214. 

Bryant,  William  Cullen,  A  silvery 
brook  (ex.),  161;  Merrily  swing- 
ing (ex.),  46;  Modest  and  shy 
(ex.),  165. 

Buchanan,  0  melancholy  waters 
(ex.),  66. 

Bums,  Robert,  Bruce's  Address,  214; 
John  Anderson,  My  Jo,  186; 
O,  wert  thou,  i9o. 

Byron,  Description  from  (ex.),  263; 
They  never  fail  who  die  (ex.), 
40. 

By  the  God  that  made  thee  (ex.), 
Ajrtoun,  13. 

Cable,  Lucy  L.,  The  Vandals,  121. 

Carey,  Of  a  sudden  the  sun,  143. 

Carleton,  Will,  Transition  from 
Settler's  Story,  262. 

Carlyle,  Thomas,  Give  us,  O  give  us 
(ex.),  131;  In  a  valiant  suffer- 
ing (ex.),  144;  The  Larch  and 
the  Oak,  117;  No  idlest  word 
thou  speakest  (ex.),  39. 

Carman,  Bliss,  Have  little  care,  107; 
Song  of  the  Mountain,  i92. 

Castelar,  Christianity  and  Pagan- 
ism, 289. 

Centrality,  226,  227. 

Centralization,  no. 

Certainty,  Emily  Dickinson,  362. 


Charge  of  the  Light  Brigade,  Tenny- 
son, 299. 

Charles  and  His  Defenders,  Macau- 
lay,  io9. 

Clang,  clang,  50. 

Clephane,  Elizabeth  Cevilia,  The 
Lost  Sheep,  188. 

Coleridge,  All  in  a  hot  and  copper  sky 
(ex.),  36;  Maid  of  my  love  (ex.), 
162;  Rise,  ohl  ever  rise  (ex.), 
146;  Sometimes  a-dropping(ex.), 
228;  The  sun's  rim  dips  (ex.), 
143 ;  Wake  1  oh,  wake  1  (ex.),  163. 

Collins,  Mortimer,  My  Thrush,  85. 

Come  all  ye  jolly,  Hogg,  180. 

Come  Home,  Mrs.  Hemans,  180. 

"  Come,"  selections  for  problem  on, 
179,  180. 

Concentration  and  its  expression, 
19-42. 

Conditions  and  qualities  of  voice, 
69-88. 

Consonants,  list  of,  194. 

Contrast,  11,  178-180;  in  emotion, 
165-168. 

Convention    of    France,    Mirabeau, 

129. 

Conversational  Form,  in,  122, 
Coolbrith,    Ina  Donna,  In  Blossom 

Time,  74. 
Co-ordination,  76;  in  voice,  61-88. 
Courage,  Sherman  Hoar,  i98. 
Cranch,  C.  P.,  Thought,  45. 
Crashaw,    Richard,    Two    went    to 

pray,  107. 
Crossing  the  Bar,  Tennyson,  296. 
Cunningham,  A.,  A  Song  of  the  Sea, 

86. 
Curfew  toUs  the   knell   (ex.).  Gray, 

231. 
Curtis,    George    William,    American 

Scholarship,  40. 

Dandridge,  Danske  Carolina,  Wings, 
51- 

Dante,  In  His  will,  116. 

Davis,  Thomas,  The  summer  brook, 
106. 

Deity,  expression  of  idea  of,  147. 

De  Lisle,  Rouget,  Ye  sons  of  free- 
dom (ex.),  137. 

Delivery,  defined,  9;  developed  by 
fundamentals,  14-16;  not  print- 
able, 9;  imity  of,  292,  293. 


INDEX 


313 


Dickinson,  Emily,  A  Book,  12 ;  Cer- 
tainty, 262;  Death  a  dialogue, 
51;  The  battle-field,  52, 

Discrimination  and  Intervals,  43-48 

Distinctness  of  articulation,  200. 

Dobson,  Henry  Austin,  Before  Sedan, 
242;  The  Rose  and  the  Gar- 
dener, 241. 

Douglas  and  James,  Scott,  29o, 

Dramatic  Instinct,  245. 

Duty,  Ellen  Sturgis  Hooper,  93. 

Ear,  training  of,  124-126. 
Elements  of  speech,  i93-i98. 
Emerson,  Ralph  Waldo,  Every  writer 

a  skater  (ex.),  153 ;  I  hide  in  the 

solar  glory  (ex.)f  25,  151;  One 

of  the  illusions  (ex.) »  112;  Out 

of  the  heart  of  nature  (ex.),  29; 

So  nigh  is  grandeur  (ex  ),  163; 

The  Problem,  94;  Though  love 

repine  (ex.),  1 1 ;  Two  Rivers,  208; 

We  are  awkward  (ex. ) ,  1 29 ;  What 

a  man  is  irresistibly  (ex.),  128; 

When  a  man  lives  with  God,  53 ; 

When  Sir  Harry  Vane  (ex.),  53; 

Who  knows  himself,  137;  Wilt 

thou  not  ope,  46. 
Emotion,  149,  150;  control  of,  2o9- 

211;  negative  and  positive,  152. 
Emphasis,    cause    of,    97-110;    by 

pulsations  or  rhythm,  11 5-1 17; 

by  form  or  melody,  1 1 1 ;  modes 

of,  iii-i22;by  change  of  key, 

113;  by  pause,  118. 
Emphatic  pause,  122. 
Enoch     Arden     at     the     Window, 

Tennyson,  213. 
Enunciation,  200. 
Epic  Instinct,  248,  249,  260. 
Erl-King,  Goethe,  244. 
Esquire  Nimble  Frog's  Mistake,  58. 
Exclamations,  use  in  voice  training, 

63-671  73-74. 

Exercise,  18. 

Expression,  begins  in  concentra- 
tion, has  a  mental  cause, 
H-13;  importance  of,  306;  law 
of,  10;  modes  of,  9;  nature  of, 
loi  requires  training,  13,  14. 

Paber,  Frederick  William,  Ride  on, 
fide  on,  116. 


Fairless,  Michael,  True  Possession, 
141. 

Fairy  Song,  S.  S.  C,  T73. 

Faults  of  voice  (See  Qualities),  69-88. 

Feeling,  development  of,  i6i ,  ex- 
pressed by  color  (See  Emotion), 
159-168, 

Ferguson,  Leap  out,  leap  out,  9i; 
0  trusted  and  trustworthy  guard, 
162. 

Field,  Eugene,  Little  Boy  Blue,  210. 

Field  Mouse  and  Town  Mouse,  154. 

Finch,  Francis  M.,  Nathan  Hale,  167. 

First  Swallow,  C,  Smith,  139. 

Fishermen,  The,  Whittier,  67. 

Flexibility  of  Voice,    25-238. 

Flower  in  the  crannied  wall,  Tenny- 
son, 146. 

Fool's  Prayer,  Edward  Rowland  Sill, 
223. 

Force  and  its  expression,  20i-?i6; 
faults  in  expression  '^f,  201-203. 

Form,  conversational,  in,  122. 

Form,  as  mode  of  Emphasis,  in,  122. 

Foss,  S.  W.,  W'en  you  see  a  man  in 
wc,  78. 

Fox  and  Cat,  J.  and  W.  Grimm,  44. 

Freedom's  secret,  1^7. 

Fries,  Warner  V/il'is,  Esquire  Nimble 
Frog's  Mista!:e,  58. 

From  that  Chamber,  Longfellow,  181. 

Froude,  History,  121. 

Gamett,  Richard,  Passion  the  fath- 
omless, 231. 

Gesture,  not  as  important  as  atti- 
tude, 276,  277. 

Gifts  of  God,  Jones  Very,  30. 

Gilder,  Richard  Watson,  Noel,  168. 

Gloomiest  day,  The,  104. 

Goethe,  Erl-King,  244;  lines  from, 
230. 

Goodale,  Dora  Read,  Hark  1  hark  I  66. 

Good  Time  Coming,  Charles  Mackay, 
79. 

Gosse,  Come,  0  Swallows,  179. 

Gray,  The  curfew  tolls  (ex.),  231. 

Greek  Spirit,  The,  Macaulay,  41. 

Grimm,  J.  and  W.,  Fox  and  Cat,  44. 

Guilielmus  Rex,  Thomas  Bailey 
Aldrich,  114. 

Halleck,  They  fought  like  (ex.),  i65r 
Hame,  hame,  James  Hogg,  178. 


314 


fin>2x 


Hark  I  from  the  hills,  John  Bovie 

O'ReUly,  67. 
"Hark,"  problems  on.  Hark,  hark; 

Goodale,   65;   Hark,   hark,  the 

lark,  Shakespeare,  73. 
Hark  I  how  mid  their  revelry,  Sheri- 
dan Knowles,  283. 
Harris,     Henry    Fletcher,    At    the 

Grave's  Edge,  212, 
Harte,  Bret,  Came  the  relief,  131. 
Hawker,   R.   D.,   Song   of   Western 

Men,  35. 
Heber,  A  Spring  Journey,  297. 
Heine,  In  the  far  North,  23. 
Hemans,   Felicia  D.,  Come    Home, 

180. 
Henley,  WilUam  Ernest,  Come,  let 

us  go  a-maying,  180;  Invictus, 

94;  The  Blackbird,  22. 
Herrick,  The  soft,  sweet  moss  (ex.), 

41. 
He  that  outlives  this  day,  184. 
History,  Froude,  121. 
Hoadley,  James  H.,  Life,  131. 
Hoar,  Sherman,  Courage,  i98. 
Hogg,  James,  Come  all  ye  jolly,  180; 

Hame,  hame,  hame,  178. 
Holmes,    Oliver    Wendell,    Lord    of 

the    Universe    (ex.),    147;     O 

better  that  her  shattered  hulk 

(ex.),  39;  O  Love  Divine  (ex), 

164;  The  crimsoned  pavement 

(ex.),  53. 
Holyi  holyl  holy  I  162. 
"Home,"  problem  on,  177. 
Home,  Sweet  Home,  Paine,  1:77. 
Homeward  Bound,  Woodberry,  87. 
Hood,  Thomas,  transition  from,  284. 
Hooper,  Ellen  Sturgis,  Duty,  93. 
House  and  Road,  Peabody,  22. 
House  of  the  Trees,  Wetherald,  48. 
How  are  Songs  Begot,  231. 
Howitt,  Thanks  be  to  God,  205. 
Howland,  Mary  Woolsey,  Rest,  211. 
Hugo,   Victor,  The   Tomb   and  the 

Rose,  246. 
Hurrah,  hurrah,  the  west  wind  (ex.), 

Whittier,  161. 

Identification,  240. 
Ideas,  centrality  of,  103. 

Relative  value  of,  97-103. 
If  all  the  Skies,  Van  Dyke,  105. 
If  ye  are  brutes,  i29. 


I    hide    in    the    solar    glory    (oz.), 

Emerson,  25,  151. 

I  know  not  what  (ex.),  Whittier,  143. 

Imagination,  143-149. 

Method  of  developing,  132-156. 
Culture  of,  145. 

Immortal  Love,  Whittier. 

In  Blossom  Time,  Ina  Donna  Cool- 
breth,  74. 

Indirection,  Richard  Realf,  148. 

Inflexion,  49-60;  abruptness  of,  60; 
and  form,  111-112;  circumflex, 
56;  direction  of,  50,  60;  free- 
dom of,  57;  length  of,  60. 

Ingalls,  John  J.,  Opportunity,  200. 

Ingelow,  Jean,  Joy  is  the  grace,  223 ; 
O  come  in  life  (ex.),  180. 

Ingham,  Rena  H.,  My  home  was  a 
dungeon,  52. 

Insects  generally  must  lead  (ex.),  137. 

Insight,  145. 

Intensity,  206-216.  (See  Volume; 
also  Force.) 

Intervals,  43-48. 

Invictus,  William  Ernest  Henley,  93. 

Jack  Frost  is  a  roguish  little  fellow 

(ex.),  173. 
Jog  on,  jog  on  (ex.),  126. 
John  Anderson,  My  Jo,  Burns,  186. 
Joy,  joy,  she  cried  (ex.),  Moore,  29i. 

Keenan's  Charge,  George  Parsons 
Lathrop,  254. 

Kentish,  Sir  Byng  (ex.).  Browning, 
55. 

Key,  change  of,  1 13-1 15. 

Key,  Charles  F.,  'Tis  the  star-spangled 
banner  (ex.),  162. 

Killed  at  the  Ford,  Longfellow,  38. 

Kingsley,  Art  is  never  art  (ex.),  234. 

KipUng,  L'Envoi,  26;  Oh,  East  is 
East  (ex.),  164. 

Knowles,  Frederick  Lawrence,  Na- 
ture the  Artist,  137. 

Knowles,  Sheridan,  Hark  1  how 'mid, 
283;  Ye  crags  and  peaks  (ex.), 
222;  Ye  guards  of  liberty  (ex.), 
222. 

Lady  Clare,  Tennyson,  285. 
Lanier,  Sidney,  As  the  marsh  hen 

(ex.),  231;  Ballad  of  the  Trees, 

303. 


mDEZ 


315 


Larch  and  the  Oak,  Carlyle,  117. 
Larger  Hope,  The,  Tennyson,  315. 
Lathrop,  George  Parsons,  Keenan's 

Charge,     354;      Sailor's    Song, 

83. 
Laughing  Song,  Blake,  77. 
Laughter,   initiation    of,     172,    173; 

poems    and    problems    for,    76, 

77. 

Launching  of  the  Ship,  Longfellow, 
381. 

Lead,  Kindly  Light,  Newman,    373. 

L'Envoi,  Kipling,  36. 

Life's  Mirror,  Madeline  S.  Bridges, 
41. 

Life,  James  H.  Hoadley,  131. 

Light,  Francis  W.  Bourdillon,  105. 

Light  of  Other  Days,  Thomas  Moore, 
183. 

Lincoln,  Death  of,  Beecher,  304; 
poem  on.  Whitman,  305. 

Lincoln,  Abraham,  Gettysburg  Ad- 
dress, 304. 

Little  Boy  Blue,  Eugene  Field,  210. 

Little  Parable,  Anne  Reeve,  Aldrich, 
135. 

Logan,  Sweet  bird  (ex.),  39. 

Logical  Relations  of  Ideas,  97-110. 

Longfellow,  Henry  W.,  Arrow  and 
Song,  104;  From  that  chamber 
(ex.),  181;  Killed  at  the  Ford 
(ex.),  38;  King  Robert  of  Sicily, 
351;  Unes  from,  241;  Launch- 
ing of  the  Ship,  281;  O  Father  I 
I  see  (ex.),  113;  Suddenly  the 
pathway  ends  (ex.),  144;  The 
Brooklet,  17;  There  groups  of 
merry  children  played  (ex.), 
178. 

Long  sleeps  the  summer,  Tennyson, 

13. 

Lord  of  the  Universe,  Holmes, 
147. 

Lost  Sheep,  Clephane,  188. 

Loudness,  cause  of,  316. 

Lovelace,  Richard,  Stone  walls  (ex.), 
163. 

Lowell,  James  Russell,  At  the  devil's 
booth  (ex.),  ii9;  Be  noble  (ex.), 
93;  Careless  seems  (ex.),  163; 
New  occasions  (ex.)  36;  O 
glorious  youth  (ex.),  179;  Over 
our  manhood  (ex.),  47;  Who 
is  it  will  not  dare  (ex.),  za8. 


Macaulay,  Thomas  B.,  Charles  and 
His  Defenders,  io9;  Come  back, 
Horatius  (ex.),  180,  322;  Hoi 
strike  the  flag-staff  deep  (ex.), 
331 ;  Liberty  (ex.),  54;  01  how 
our  hearts  were  beating  (ex.), 
179;  The  Greek  Spirit,  41. 

Macdonald,  George,  The  Wind  and 
the  Moon,  155;  The  west  is 
broken  (ex.),  142. 

Mackay,  Charles,  The  Good  Time 
Coming,  79. 

Mackay,  Constance  D'Arcy,  A  Ballad 
of  the  Road,  i9i. 

Man  and  Nature,  Robert  Kelley 
Weeks,  83. 

Manipulation,  18. 

Manifestation  and  representation, 
277-279. 

Marlowe,  Come  live  with  me  (ex.), 
180. 

Marmion,  When  doffed,  283;  With 
fruitless  labor,  248. 

Marzials,  Theophile,  There's  on« 
great  bunch  of  stars,  127. 

McCarthy,  Denis  A.,  Tipperary  i« 
the  Spring,  75. 

McCarthy,  Dennis  F.,  Ah!  my  heart 
is  pained  (ex.),  i9i. 

Memorabilia,  Browning,  59. 

Men  are  Four,  Arabian  proverb,  160. 

Merrily  swinging  (ex.),  Bryant,  46. 

Merrily,  merrily,  Shakespeare,  11. 

Metastasio,  Though  the  enemy  (ex.), 
116. 

Method,  no. 

Metre,  227-238;  meaning  of,  329; 
feet,  229-230,  238;  quantity 
and  accent  in,  227. 

Mind,  in  Expression,  11-13;  spon- 
taneous actions  of,  135-156. 

Mirabeau,  convention  of  France,  I29. 

Modes  of  Expression,  9. 

Modulations  of  the  voice,  18;  rela- 
tion of,  293. 

Moir,  David  M.,  Up,  up  with  thy 
praise-breathing    anthem    (ex.), 

92. 

Montgomery,  Make  way  for  liberty 

(ex.),  313. 
Moon  on  the  field,  177. 
Moore,    Thomas,     Light     of    other 

Days,  183;  Those  evening  bells, 

88. 


3i6 


DIDEZ 


Morris,  Harrison  Smith,  A  Pine-Tree 

Buoy,  237. 
Morris,  WUliam,  April,  172. 
Moulding  Tone  into  Words,  193-200. 
Movement,  261-270. 
My  Resources,  Emily  Tolman,  234. 
My  Rest,  Carmen  Sylva,  21. 
My  Thrush,  Mortimer  Collins,  85. 

Nathan  Hale,  Francis  M.  Finch,  167. 

Nature:  the  Artist,  Frederick  Law- 
rence Knowles,  137. 

Nature,  law  of,  xi-13. 

Nature,  Realf,  30. 

Nasality,  187. 

Neutrality,  defined,  168. 

Newman,  John  H.,  Lead,  Blindly 
Light,  272, 

Nichol,  John,  Mediterranean  Ses,  20. 

Nobody  looks  at  the  clouds,  85. 

Noel,  Gilder,  168. 

Normal,  definition  of,  68. 

Now  all  the  publicans,  Luke,  i89. 

0  blessed  bird,  Wordsworth  (ex.), 

161. 
O !  Captain,  Whitman,  305. 

01  Caledonia!  (ex.),  Scott,  179. 

O  come  in  life  (ex.),  Jean  Ingelow, 

180. 
Of  old  hast  Thou  laid,  163. 
O    God    Almighty  (ex.),  Tennjrson, 

221. 
"  Oh,"  problem  with  extracts,  178, 

179. 
O  harkl    O  hearl    Tennyson  (ex.), 

176. 
Oh,  how  our  organ  (ex.).  Story,  257. 
Oh,  if  I  could  only  make  you  see, 

i9i. 
Oh  I  joy  to  be  out  in  June,  85. 
Oh  rose,  out  of  the  heart,  146. 
Oh,  the  bells  of  Shandon  (ex.),  181. 
O  Lark  of  the  Sixmmer  Morning,  74. 
Old  Oaken  Bucket,  Woodworth  (ex.), 

127. 
O  Love  Divine,  Holmes,  164. 
O  melancholy  waters,  Buchanan,  66. 
O,  Mona's  waters,  163. 
Once   more   into   the    breach   (ex.) 

259. 
Opportunity,  Ingalls,  200. 
Organisni-  response  of,  6x-6& 


O'Reilly,  John  Boyle,  Hark  from  the 

hills  (ex.),  67. 
Othello,    Defence    of,    Shakespeare, 

289. 
0  Thou  whose  balance  (ex.),  28. 
Out  of  the   heart  of  nature   (ex.), 

Emerson,  29, 
Overtones,  i69,  170;   defined,    183; 

improvement  of,  174,  175. 
Owen,  All  things  I  thought  I  knew, 

60. 
O,  wert  thou.  Bums,  i9o. 
O  wild  west  wind,  Shelley,  157. 

Paine,  John  Howard,  Home,  Sweet 

Home,  177. 
Pantomimic  conditions  of  Tone,  183- 

l92. 

Passer-by,  say  at  Lacedaemon,  Simon- 
ides,  146. 

Pathos,  2o9. 

Patriot,  The,  253. 

Patten,  George  W.,  Seminole's  Re- 
ply, S3- 

Pause,  emphatic,  118-120,  122; 
function  of,  24. 

Peabody,  Ephraim,  Skater's  Song, 
81. 

Peabody,  Josephine  Preston,  House 
and  Road,  22. 

Perception,  defined,  143. 

Pericles  (ex.),  from  Funeral  Oration, 
96. 

Perronet,  All  hail  the  power  of  Jesus' 
name,  165. 

Personation  and  Participation,  243, 
244. 

Petrified  Fern,  Mary  Bolles  Branch, 
207. 

PickthaU,  Marjorie  L.,  Wanderlied, 
168. 

Pine-Tree  Buoy,  Harrison  Smith  Mor- 
ris, 237. 

Pharisee  and  Publican,  107. 

Phrasing,  27,  31 ;  caused  by  thinking, 
31- 

Poetry,  235. 

Power,  216. 

Prejudice,  Alexander  H.  Stephens, 
105. 

Prentice,  George  D.,  'Tis  midnight's 
holy  hour  (ex.),  39. 

Problem,  defined,  18. 

Problem.  The,  Emerson,  94. 


OIDEX 


317 


PuUen,    Elizabeth,    The    Sea-weed, 

143. 
Pulsations,  122. 
Purposes  in  Expression,  250-357. 

Qualities  of  Voice,  69-88. 

Randall,  James  Ryder,  Why  the 
Robin's  Breast  is  Red,  246. 

Range  of  Voice,  113-115,  130-134. 

Read,  T.  B.,  Who  dares  (ex.),  53- 

Realf,  Richard,  Indirection,  148; 
Nature,  30. 

Rencontre,  Aldrich,  232. 

Resonance,  development  of,  176, 181. 

Response  of  organism,  61-68. 

Rest,  Mary  Woolsey  Howland,  211. 

Rhys,  Ernest,  White  Roses,  38, 

Rhythm,  basis  of  movement,  261- 
267;  consists  of  pause  and 
touch,  32;  defined,  238;  em- 
phasis by,  115,  116:  of  breath- 
ing, 8i  i  of  thinking  domi- 
nates delivery,  32. 

Richter,  Jean  Paul  Friedrich  (ex.), 
Music,  200. 

Ring  freedom's  bells  (ex.),  86. 

Rise,  oh  I  ever  rise,  Coleridge,  146. 

Robert  of  Sicily,  Longfellow,  (ex.), 
241,  251. 

Roll  on,  thou  deep,  146. 

Rose  and  Gardener,  Dobson,  241. 

Rossetti,  Christina  Georgina,  Bird 
Raptures,  80;  The  Wind,  40. 

Ruskin,  It  is  only  by  work  (ex.)^ 
334;  the  weakest  among  us 
(ex.),  42. 

Sailor's  Song,  Lathrop,  82. 

Sea-weed,  Pullen,  142. 

Seminole's  Reply,  George  W.  Patten, 

53- 
Scollard,  Clinton,  Wanderer's  Song, 

156. 
Scott,  Sir  Walter,  Come  fill  up  my 
cup,  9i;  Come  from  the  hills, 
86;  Douglas  and  James,  29o; 
Hounds  are  in  (ex.),  9i;  Mer- 
rily, merrily  (ex.),  162;  Now 
men  of  death  (ex.)  ,37;  Come  one, 
come  all,  180;  O  Caledonia! 
179;  Oh  Bringnall  banks,  178; 
What  ho,  my  jovial  mates  I  126. 


Shakespeare,  William,  A  horse  I  a 
horse  I  (ex.),  204;  Defence  of 
Othello,  289;  Fight,  gentlemen 
of  England,  37;  Full  fathom 
five,  176;  God  save  thy  grace. 
King  Hal,  57;  Go  to;  you  are 
not  Cassius,  i29;  Hail,  to 
your  lordship,  60;  Hark,  hark, 
the  lark,  73;  Henceforth  let  me 
not,  36;  He  that  outlives  this 
day,  184;  How  nowl  what 
noise,  i89;  I  do  believe,  204; 
It  was  a  lover,  126;  Look,  my 
lord,  it  comes,  64;  Master, 
young  man,  you,  188;  Merrily, 
merrily,  11;  Now  my  co-mates, 
80;  Once  more  unto  the  breach, 
259;  O  pardon  me,  132;  Pray 
you  keep  your  way,  37;  Re- 
member March,  132;  So  may 
the  outward  shows,  99;  Suit 
the  action  to  the  word,  36; 
Sweet  Portia,  if  you,  loi ;  The 
king  is  full  of  grace,  112;  The 
quality  of  mercy ^  108;  Unhand 
me,  gentlemen,  55;  When  daf- 
fodils begin,  78;  Who's  there? 
What  my  young,  186. 

Shelley,  Percy  Bysshe,  O  lift  me  as 
a  wave,  221;  To  a  Skylark,  236 
(ex.),  235;  West  Wind,  157. 

Sill,  Edward  R.,  Before  Sunrise  in 
Winter,  133 ;  Fool's  Prayer,  223. 

Sill,  Louise  Morgan,  Unexpressed, 
130. 

Simonides,  Passer-by,  say  at  Lace- 
daemon,  146. 

Sing  loud,  O  bird  (ex.  Blossom 
Time),  47. 

Skater's  Song,  Peabody,  81, 

Smith,  C,  The  First  Swallow,  139. 

Song,  nature  of,  186,  187. 

Song  of  the  Camp,  Bayard  Taylor, 
302. 

Song  of  the  Mountain,  Bliss  Car- 
man, l92. 

Song  of  the  Sea,  Cunningham,  86. 

Song  of  Western  Men,  Hawker,  35. 

Sound  waves,  182. 

Speech,  elements  of,  i93-i98. 

Spontaneity  and  modulation,  135- 
156. 

Spontaneous  Actions,  153-156. 

Spring  Journey,  Heber,  397. 


318 


INDEX 


Stephens,  Alexander  H.,  Prejudice, 

105. 
Stevenson,    R.    L.,    Where    Go    the 

Boats?  23. 
Still  glides  the  stream,  Wordsworth, 

31. 

Story,  William  W.,  The  Unex- 
pressed, 231. 

Strength  of  Voice,  217. 

Study,  A,  18. 

Sublimity,  152. 

Subordination,  no. 

Summer  Time,  Allingham,  i99. 

Support  and  Strength  of  Voice  j 
217-224. 

Surprises  from  Hamlet,  64,  65. 

Sylva,  Carmen,  My  Rest,  21. 

Sympathy,  239-260. 

Tabb,  John  B.,  At  twilight  on  the 
open  sea,  26. 

Taylor,  Bayard,  May  the  thousand 
years  to  come,  68;  Song  of  the 
Camp,  301. 

Taylor,  Sir  Henry,  I'm  a  bird  that's 
free,  167. 

Tennyson,  Alfred,  Cannon  to  right 
(ex.),  142;  Charge  of  the  Light 
Brigade,  299;  lines  from,  295; 
Come  into  the  garden,  Maud 
(ex.),  230;  Come  my  friends, 
180;  Crossing  the  Bar,  296; 
Enoch  Arden  at  the  Window 
(ex.),  213;  Flower  in  the  cran- 
nied wall,  146;  Follow  light 
(ex.),  58;  Forward,  the  light 
brigade  (ex),  222;  Howe'er  it 
be  (ex.),  92,  I  slip,  I  slide  (ex.), 
45;  Lady  Clare,  285;  Long 
sleeps  the  summer  (ex.),  12; 
Oh,  and  proudly  stood  she  up 
(ex.),  93;  O  God  Almighty  (ex.), 
178,  22t;  Speak  to  Him  thou, 
(ex.),  117;  Tears,  idle  tears 
(ex.),  163;  The  Brook,  174; 
The  Larger  Hope,  215;  The 
Victory,  ii9. 

Texture  of  muscles  and  tone,  183-192. 

Thackeray,  William  Makepeace,  Loi 
(ex.),  87. 

Thaxter,  Celia,  Skies  may  be  dark 
(ex.),  16. 

There  groups  of  merry  children 
played  (ex.),  Lorffellow.  176. 


There  is  nothing  like  fun  (ex.)i 
132. 

Thinking,  elements  of,  i9. 

Thompson,  poem  on  William  Blake, 
117. 

Though  love  repine  (ex.),  Emerson, 
II. 

Thought,  Cranch,  45. 

Tipperary  in  the  Spring,  Denis  A. 
McCarthy,  75. 

'Tis  the  star-spangled  banner  (ex.). 
Key,  162. 

To  a  Skylark,  Shelley,  236. 

To-day,  attrib.  to  Wilberforce,  39. 

Tolman,  Emily,  My  Resources,  234. 

Tomb  and  the  Rose,  Victor  Hugo, 
246. 

Tone-color,  159-168;  contrasted 
emotions,  161-164;  see  also 
problems  on  "  Oh,"  178, 
"  Come,"  179-181;  defined,  159, 
168,  182;  nature  and  importance 
of,  166. 

Tone,  moulding  of,  into  words,  193- 
200,  pantomimic  conditions  of, 
183-192 ;  secondary  vibrations 
of,  169-182. 

To  the  Cvickoo,  Wordsworth,  151. 

Town  and  Country,  154. 

Touch,  explained,  31-42. 

Training,  defined,  18;  function  of  in 
expression,  13,  14. 

Transitions,  reveal  unity  of  modula- 
tions, 294. 

Tree's  leafy  buds,  B„  Bjornson,  47. 

True  Possessions,  Michael  Fairless 
141. 

Two  prisoners  looked  out,  9, 

Two  Rivers,  Emerson,  208. 

Unexpressed,    Louise    Morgan    Sill 

130. 
Unexpressed,  The,  Story,  231. 

Vandals,  The,  Lucy  L.  Cable,  121. 
Van  Dyke,  If  all  the  skies,  105. 
Very,  Jones,  The  Gifts  of  God,  30. 
Vibration,  182. 
Vibrations,  sympathetic,  i92. 
Victory,  The,  Tennyson,  ii9. 
Vision,  138-143. 
Voice,  agility  of,  123. 
Voice  and  body^  89-96. 


INDEX 


319 


Voice,  conditions  and  qualities  of, 
69-88;  Flexibility  of,  225-238; 
modulated  by  action,  61;  range 
of,  130-134;  secondary  vibrations 
of,  169-182;  strength  of,  217- 
224 ;  sympathetic  vibrations 
caused  by  body,  183-192;  train- 
ing of,  61-88. 

/olume,  203-205;  defined,  216.  See 
Intensity ;  also  Force. 

Voluntary  Actions,  137. 

Vowels,  definition  of,  193;  develop- 
ment of,  i96 ;  diagram  of,  195. 

Waller,  Ah!  that  lady  (ex.),  163. 

Wanderer's  Song,  Clinton  Scollard, 
156. 

Wanderlied,  Pickthall,  168. 

Watson,  William,  World-strange- 
ness, 42. 

Webster,  Daniel,  Inspiring  auspices, 
this  day,  115;  Let  our  object 
be,  13  n  Truth  is  always  con- 
gruous, 128. 

Weeks,  Robert  Kelley,  Man  and 
Nature,  83. 

Wen  you  see  a  man  in  wo,  S.  W. 
Foss,  78. 

Wetherald,  Ethelwyn,  House  of  the 
Trees,  48. 

What  a  man  is  irresistibly  (ex.), 
Emerson,  128. 

What  right  have  you  (ex.),  128. 

Where  Go  the  Boats?  Stevenson,  23. 

While  you  are  gazing  fex.),  205. 

White  Roses,  Ernest  Rhys,  38. 

Whitman,  Walt,  Ah,  what  can, 
235;   01    Captain,  my  Captain, 

305. 
Whittier,  John  G.,  Ah,  well  I  for  us 
all  (ex.t.  160;  Blessings  on  thee, 
little  man  (ex.),  47;  Immortal 


Whittier,  John  G.  —  Continued. 
Love,  148;  Hurrah,  hurrah  I  161 ; 
I  know  not  what  (ex.),  143; 
Let  the  thick  curtain  fall,  223 ; 
O  for  boyhood's  time  of  June, 
178;  O  God  I  have  mercy,  212; 
The  Fishermen,  67. 

Why  the  Robin's  Breast  is  Red, 
Randall,  247. 

Wilcox,  Ella  Wheeler,  There  is  no 
chance,  39. 

William  Blake,  Thompson,  117. 

Wind  and  the  Moon,  George  Mac- 
donald,  155. 

Wind,  The,  Christina  G.  Rossetti, 
40. 

Wings,  Danske  Carolina  Dandridge, 
51- 

Wise  of  a  wisdom,  Carlyle,  272. 

With  Fruitless  Labor,  248. 

Woodberry,  George  Edward,  Home- 
ward Bound,  87. 

Woodworth,  How  dear  to  this  heart, 
127. 

Worcester,  get  thee  gone,  35. 

Words  are  instrument  of  music  (ex.), 
257. 

Words,  tone  moulded  into,  193- 
200 

Wordsworth,  William,  Know  that 
pride  (ex.),  i99;  Love  had  he 
found  (ex.),  162;  No  sweeter 
voice  (ex.),  140;  O  blessed 
bird  I  (ex.),  161;  Still  glides  the 
stream  (ex.),  31;  The  outward 
shows  of  sky  (ex.),  40;  To  the 
Cuckoo,  151. 

World-strangeness,  William  Watson, 
42. 

Ye  sons  of  freedom,  Rouget  de  Lisle, 
137- 


WORKS  OF  S.  S.  CURRY,  Pd.D.,  Litt.D. 


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